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FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 1
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Contents February/March 2020
Welcome to the Issue 003
TABLE OF CONTENTS
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BEHIND THE COVER
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WELCOME TO THE ISSUE
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MASTHEAD
check out what’s in this month’s issue see what it took to create the cover welcome to the Unconquered Womxn’s issue who’s all on our team
The Edge 009
UNCONQUERED & EXISTING IN SUNNY L.A.
Vosq Clothing Co.’s latest focus has been existing in places we [Indigenous people] aren’t usually seen
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THE MOMENT: DOTŁ’IZHI
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STYLE PROFILE: LAUREN GOOD DAY
this issue’s Style Profile focuses on Lauren Good Day, a multi-talented artist who’s bridging her passions of fashion and art together
The Insider 017
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Dotł’izhi (Dot-Cluh-Gee) is a luxury accessory brand that evokes the life, beauty, and strength of its wearers, the same three components turquoise possess
AFRICAN AMERICAN HISTORY MONTH SPOTLIGHT
February is African American History Month, which pays tribute to the generations of African Americans and to commemorate and celebrate the contributions to America made by people of African descent. This African American History Month, we recognize seven Afro-Native people from throughout Indian Country
Features 020
FASHION & CULTURE UNCONQUERED: TOMASINA CHUPCO AND CHEYENNE KIPPENBERGER
two women who hail from a tribe as unconquered as their motivation and drive. Meet Tomasina Chupco and Cheyenne Kippenberger, Seminole boss women and best friends who are successful, use their voices for power and remain unconquered
On Radar 027
COMING FOR THEIR CROWNS: LINDY VISION
there’s a group of Native female musicians coming out of the southwest you oughta check out right now
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Behind the Cover
Behind the Cover:
W
hile brainstorming ideas for the cover shoot, Cheyenne, Tomasina, and our team suggested a location that best represents Florida tribes. After scouting locations, Cheyenne and Tomasina decided to host the photoshoot at Miccosukee Indian Village.
The ladies incorporated much of their Seminole culture into the shoot. Both Cheyenne and Tomasina had their makeup done by Seminole makeup artist Billiee Beauty. Tomasina wore jewelry by Indigenous Intentions and Laura Clay and a dress by Seminole designer Simply Savage Steffs. Meanwhile, Cheyenne rocked jewelry by Seminole artist Beadwork by Dakota an outfit made by the late Donna Turtle. The photoshoot, titled “NMM Unconquered Seminole Fashion Contribution�, was photographed by Cynecia Manning, with photos edited by Joyanne Panton.
Tomasina and Cheyenne pictured with Billie Beauty.
Check out more BTS photos from the cover shoot online at NATIVEMAX.COM!
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FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 5
Welcome to the Issue
After seeing Lindy Vision perform live during Santa Fe Indian Market, we were excited to sit down with the sisters and interview them.
One of the most exciting features about the cover spread is seeing Seminole fashion in both contemporary and traditional styles.
Unconquered
I
f we’re being honest here, we’ll say that our cover models Tomasina Chupco and Cheyenne Kippenberger helped inspire the theme of this issue. We wanted to focus on both Afro-Native people in honor of African American History Month (February) and on indigenous women in honor of National Women’s Month (March). While brainstorming the official theme of the issue, we received notes about the cover shoot from Tomasina and we couldn’t help but notice “Unconquered Seminole Fashion” as the title of the feature. That immediately caught our attention, so much so that we decided to make that the theme for this issue. How do our subjects remain unconquered in their stories, endeavors, and journeys to success? Vosq Clothing Co.’s latest focus has been existing in places we [Indigenous people] aren’t usually seen. Their goal is to remain unconquered and stay existing, especially in places like crowded Los Angeles. The photos feature Native model Cheyenne Gordon unconquered and existing in a crowded and crazy skatepark in L.A.
That immediately caught our attention, so much so that we decided to make that the theme for this issue. How do our subjects remain unconquered in their stories, endeavors, and journeys to success?
Not only does jewelry designer and artist Alicia Velasquez remain unconquered by continuing her family’s tradition of making jewelry, but also with her luxury accessory brand Dotł’izhi (Dot-CluhGee). Despite being professionally advised to change the name of her brand to something easier to pronounce, she continues to name her business the Apache word for turquoise. We also feature and celebrate fierce Afro-Native womxn in honor of African American History Month. We recognize seven Afro-Native people from throughout Indian Country who share with us what it’s like to love and appreciate both their African and Native American heritages and cultures while making moves in their communities. Lastly, we featured three Black Native sisters and female musicians coming out of the southwest who are paving their own paths and are on the pursuit of the next-big-thing crown. Enjoy the issue!
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PROMOTION
KELLY HOLMES Founder + Editor-in-Chief @kellycamilleholmes Executive Assistant Tatiana Ybarra EDITORIAL Managing Editor Jacqueline Lina Brixey Staff Writer Rhonda “Tree” Mangan Staff Writer Johnnie Morris Staff Writer Kelly Bedoni CREATIVE Director of Photography Zoe Friday
Copyright Native Max & Other Media Ventures All rights reserved. All material in Native Max Magazine is wholly copyright and reproduction without the the written permission of the Publisher is strictly forbidden. Neither this publication nor its contents constitute an explicit endorsement by Native Max of the products or services mentioned in advertising or editorial content. Whilst every effort has been made to ensure accuracy, Native Max shall not have any liability for errors or omissions. We've done our best to acknowledge all photographers. In some instances photos have been provided to us by those who appear editorially and we have their permission in each case to use the images. We apologize if anything appears incorrectly. It will be a genuine mistake. Please let us know and we can give you a mention in the next issue.
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The Edge
Unconquered & Existing in Sunny L.A. Vosq Clothing Co.’s latest focus has been existing in places we [Indigenous people] aren’t usually seen. Photography: Gabe Sachs (@gabesachs) Model: Chey Gordon (@cheygordon)
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FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 9
The Edge
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ately, southern California-based Vosq Clothing Co.’s major vibes have been “existing in places we [Indigenous people] aren’t usually seen”, with their photoshoots taking place around poppin’ areas of Los Angeles, CA. “Where we as Indigenous people once were the only ones around, now make up such a small population,” says Vosq Clothing Co. ‘s founder Nick Hassel. “Our message is, ‘we are still here and existing’”. The mission of the brand is to empower people through creativity and perspective by showing the public that indigenous people are very well still existing, especially in one of the most diverse and populated cities in the world. In the latest campaign, Vosq. Clothing Co. collaborated with phenomenal photographer Gabe Sachs, a wellrespected photographer of the film industry who’s worked on timeless shows such as Freaks & Geaks and so on. “His ability to capture a moment and a vibe is amazing,” says Hassel.
Details: Sunset Women’s Flowy Racerback Tank, Vosq. Clothing Co., $30, vosqco.com
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The Edge
Details: T-shirt, Vosq. Clothing Co., contact for price, vosqco.com
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FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 11
The Edge
Details: 3D Glitch Tee, Vosq. Clothing Co., $30, vosqco.com
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The Edge
Details: Arrow Long Sleeve Shirt, Vosq. Clothing Co., $35, vosqco.com
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FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 13
The Edge The Moment:
Dotł’izhi
(Turquoise in Apache) Dotł’izhi (Dot-Cluh-Gee) is a luxury accessory brand that evokes life, beauty, and strength of its wearers, the same three components turquoise possess.
Beaded bracelet, Dotł’izhi, contact for pricing, dotlizhi.com
Aqua gold earrings, Dotł’izhi, $295, dotlizhi.com Bold purple earrings, Dotł’izhi, $475, dotlizhi.com
Earrings, Dotł’izhi, contact for pricing, dotlizhi.com
T
he jewelry designer Alicia Velasquez is an edgy and well versed artist, so it’s hardly surprising that her work, too, is sophisticated and bold with edge. Each of Velasquez’s pieces are created to make a statement that reflects indigenous culture and values, and push the boundaries of freedom of expression. Velasquez (Apache/Yaqui) has childhood memories of her father creating beautiful beadwork at the table beside his bed. “I longed to be like him and create such beauty, and now I am,” she says. “He would always use
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the color turquoise in his beadwork, which to me represents strength, beauty and wisdom.” Now the designer and owner of luxury accessory brand Dotł’izhi (which means “turquoise” in the Apache language), Velasquez continues to create jewelry pieces that are inspired by a strong woman, in which the elements used for each design reflects her story, her culture and her style. “I want every woman who buys my creations to feel beautiful, empowered and loved. I just want to be their storyteller, just as my dad was mine.” nativemax.com
The Edge Looks from Good Day’s latest Fall/ Winter 2020 Collection, which is now available on her online shop laurengoodday.com. (Photos: courtesy)
Style Profile
Lauren Good Day
F
or Lauren Good Day (Arikara/Hidatsa/Blackfeet/Plains Cree), creating art in one medium isn’t enough. With multiple awards and accolades under her belt, Good Day has established a successful art business and a name for herself among the major Native American art markets and shows throughout the country with her prestigious works in cultural art such as beadwork and ledger art, to name a few. Though lately, Good Day decided to delve into fashion as a fashion designer by bridging her passions for art and fashion together.
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This issue’s Style Profile focuses on Lauren Good Day, a multitalented artist who’s bridging her passions of fashion and art together.
What tribe are you? Where are you from? Culturally I am Arikara & Hidatsa (MHA Nation) as I was raised amongst my mother’s side of the family, who are deep within the culture and community. I’m also Blackfeet and Plains Cree on my father’s side. I am so proud to be from all of my nations and know that all my bloodlines and ancestors have shaped who I am today. I’m enrolled with the MHA Nation of Ft. Berthold, ND and a registered Treaty Indian with the Sweetgrass Cree First Nation in Saskatchewan, Canada. FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 15
The Edge When did you become interested in art? I’ve been an artist since my childhood. Growing up I was taught many traditional arts, arts that are based in culture from my female relatives such as beading as well as sewing of cultural regalia. As a teenager I created powwow regalia and took orders for friends and family which eventually led me to a career as a professional artist working with mediums such as parfleche work, quillwork, ledger drawing and eventually fashion design in my adulthood. Creating cultural works of art was natural and was shown to me as the female relatives in my family are very industrious. It was common for my mother and grandmother to always be working on projects for their family members for cultural celebrations, powwows or ceremonial doings as there was always a need for our cultural regalia. Art was a natural part of my life. Last year you expanded into fashion. When did you decide to put your artwork onto fashion pieces? Why? Fashion has always been a passion of mine since childhood. I recall being so excited to go shopping and styling clothes together. When I became an artist as a child I also had a passion for our traditional clothing. I would draw and sketch in my notebooks future outfit designs of traditional dresses and then create them. My mom remembers seeing the sketches and strongly encouraged my art. When I became a teenager I wanted to be a fashion designer first and didn’t really think of making art a career. When I was 13 years old I was the Denver March Powwow Princess and I wrote in my bio that was printed in the event book that I wanted to be a fashion designer when I grew up. It’s pretty neat to see how my visions and dreams for my future have come to fruition. First being an artist and now a designer. I’ve always been somewhat of a Native fashionista. I loved curating my one-of-a-kind designs such as ribbon skirts, jewelry and moccasins and mixing them with fashionable pieces. That passion actually led me to another business previously. My mother, sister and I opened Sage & Silver, Americana which was a boutique and art gallery in downtown Rapid City, SD. It was a fun and great experience. We later moved it to New Town, ND when we moved back to our home reservation but eventually closed it so I could focus on the designing and manufacturing of my designs. There is such a need for Indigenous designers to hit a wider market and audience in the fashion world. Currently there’s so much cultural appropriation and Native aesthetics being used in fashion without credit or authenticity from actual Native people. After working within the boutique business and seeing the “Native-inspired” fashion at markets by large companies I knew it was time to take my own creativity into clothing and fashion design. I call it wearable art as I’ve personally designed the garments, layouts and fabrics with my artwork from other mediums such as with beaded prints, ledger drawings and digitally-composed and created works. It’s truly another extension of my artwork. You’re certainly a multi-talented artist. What are your preferred art mediums? I do so many mediums and love them all equally. I feel that I’m a cultural artist like the women and ancestors before me, having knowledge of multiple mediums. I do beadwork, quillwork, parfleche work, ledger drawing (mediums that are cultural aesthetic-based), and now I am into contemporary mediums such as graphic design and fashion design. Graphic design has allowed me to design my signature fabrics for the wearable art collections by rearranging and resizing the various works already created (like beaded prints for example) and also digitally composing new works for fabrics. I think that’s what makes my designs so unique; I’m an artist and a designer, creating all the artwork, fabrics and designs myself. How was the transition from art to fashion? A learning process but it’s been great bridging my passions for art and fashion together. I’ve been a traditional Native clothing 16 NATIVE MAX MAGAZINE | FEBRUARY/MARCH 2020
designer since childhood so it’s fun to use some of that knowledge to create contemporary ready-to-wear pieces. My clothing is rooted in cultural knowledge, aesthetics of the Plains and is designed for both art collectors and fashionistas alike! Will you be doing more pieces with your art? Yes! The Fall/Winter 2020 Collection is available, which is a bigger collection with more styles. Like with my other art mediums, I have so many ideas and I’m so excited to share them with the world!
Looks from Good Day’s latest Fall/ Winter 2020 Collection, which is now available on her online shop laurengoodday.com. (Photos: courtesy)
What’s your favorite piece or pieces from your collections so far? I love them all and wear them all! I’d have to say the garments with beaded fabric prints are some of my favorites, like the Buttercup Fitted Maxi Dress and the Beaded Tee. Then again I also love a great skirt like the Lane Stitch Midi Skirt. I feel the Debut Wearable Art Collection is so versatile as it can be dressed up, dressed down, worn to the fair, a powwow, a picnic with the family, an art show or just about anywhere. I specifically created ready-to-wear so that I could further share my gifts and talents of creativity and art with a wider audience. I feel like it’s a dream come true, mission accomplished and it’s only the beginning! nativemax.com
The Insider Culture
Spotlight on Afro-Natives February is African American History Month, which pays tribute to the generations of African Americans and to celebrate the contributions to America made by people of African descent. This African American History Month, we recognize seven Afro-Native people from throughout Indian Country. Chenae Bullock I am the daughter of an African American father and a mother who is Shinnecock and was born and raised on the Shinnecock Indian Reservation located in Southampton, New York. Our clan structure was destroyed due to colonization as early as 1638 in our Long Island indigenous communities. However, I come from a continual hereditary line of sachems (chiefs) Quashawam, Wyandanch, Mongotuckee, Sassucass, Tatobum, and Tusaksuck. They were not only the sachems of Long Island and New England but were whalers and owned the largest canoes ever seen in the Long Island Sound. My name is Chenae Bullock, but Sagkompanau Mishoon Netoouesqua in the Shinnecock language. The translation is “I Lead Canoe I am Butterfly Woman�. I am enrolled in the Shinnecock Indian Nation. Both of my parents raised me to understand I will always be considered bi-racial as an African American and Native American. Growing up with these teachings, I have focused my life on not only balancing these two backgrounds, by creating awareness of the importance of culture and heritage. I have been the Shinnecock Indian Youth Council Advisor, Shinnecock Indian Nation Cultural Enrichment Department Administrative Assistant, and an interpreter at the Shinnecock Museum and Cultural Center. In 2011, I traveled to Washington for the first time to paddle to Swinomish in the Tribal Canoe Journeys. In June of 2012, I organized and physically led members of the Shin(continued on next page)
PHOTO: COURTESY
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The Insider necock Indian Nation in a historic four-day canoe journey from Shinnecock territory in Long Island, New York to Mashantucket Pequot and Mohegan territory in southeastern Connecticut across the Long Island Sound. This journey had not been made in over four-hundred years. In August of 2012, I returned to Washington to paddle to Squaxin Island, and have attended canoe journeys since. When asked what I consider myself, I tell people, “I am an Atlantic indigAbigail Agresta Being able to call myself Native American is truly empowering and I am very grateful to be able to have that ethnicity. I was adopted as a baby and grew up in a white family, so I didn’t completely learn my ancestry and heritage background until I started becoming an adult. For my 18th birthday, I got a DNA test and couldn’t have been more excited to find out what else my ethnicity could be besides Native Americans. I found out that I was 80% East Asian and Native American, 18% European, 0.5% Sub-Saharan African, and 0.1% Western Asian % North African. This to me was astounding, I couldn’t have been more excited to
Carla Johnson I am an enrolled member of the Puyallup Tribe of Indians based out of the northwest U.S. I was born in Tacoma, WA in 1986 to a Native American mother and African American father in the military. I’m proud to say they are still together to this day. Due to the military, we moved around a lot and ended up in Texas in 1992 where I grew up and currently reside. Growing up I would say I have always been fully aware and proud to be half Native and half Black. My mother did the best she could to educate me and incorporate Native traditions into our everyday life. Both sides of my family (extended) accept me and have never made me feel different or alienated, which I am very thankful for. My physical features such as my nose and skin color along with my last name Johnson may be reasons as to why people identify and categorize me as a “Black woman”. It doesn’t bother me per se, but I have no problem informing anyone that I am very Black and very Native. To this day I have issues with the “check one: Black, White, Hispanic, or Other” decision, simply because I do not identify
just as Black. The language that my tribe speaks is Twulshootseed (also called Lushootseed) and unfortunately, I do not speak it but plan on learning. I am very eager to continue gaining more knowledge about my Native culture as well as my Black culture. I have many family members who advocate for Native American rights, with some having traveled to Standing Rock to protest the Dakota Access Pipeline. My tribe has recently started issuing us “enhanced Tribal ID cards” that can be used as a land passport to Canada and Mexico which is awesome. The tribe also provides so many resources to its members and because of that, I am currently enrolled in a Nursing program in Houston, TX. I am constantly searching for the presence of Native American culture and events in the area, where I had the pleasure of meeting YoNasDa LoneWolf when she came to speak in Houston. Very enlightening! I feel very special to be half Native American, like a unicorn even [laughs], because unfortunately, I don’t meet very many people like me in this area. My mother lives three hours away from me but represents Native pride in our hometown and I’ll most definitely continue to represent here in Houston and wherever else I go.
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enous woman”. My ancestors come from both sides of the Atlantic Ocean. I can never choose aside. I will say I can relate to my indigenous side more because of the cultural teachings that were preserved and instilled in me. I was raised culturally through the customs of ancestors in which I named in my introduction. I can never choose one side, as I am who I am and know who I am. The work I do not only reflects both sides but is for the betterment of both sides.
open up my results and finally feel complete. Not knowing who I was for most of my life was exhausting, of course on ethnicity questions for exams and questionnaires I knew to circle American Indian. But now I feel more fulfilled and learn new things about my heritage every day, the tragedies and accomplishments. I get asked daily, “What are you?” on campus and in stores, and I am always proud to answer Native American. I will continue to be appreciative to be blessed with my Native American genes and my children in the future should feel the same way. Native Americans are underrated and I believe that should change. I would love the world to see this ethnicity as beautiful as I do and not just what’s portrayed to society’s eyes these days. Clara Kent As Afro-Indigenous women, we carry a power that can take time to claim. Sometimes there’s a load of anxiety, yearning, and pride about our place in identity. From the time we are aware of ourselves as children, we also become aware of the world around us. Each piece of information we gather along the way can guide us or misguide us in our path to finding one’s place in this world. At times, it can feel as if we are suspended in midair, swinging from left to right. My experience with identity healing started at a very young age. My mother was an African American artist and entrepreneur and my father is Oglala Lakota but wasn't active in raising me or teaching me about my heritage. Luckily, I had my grandmother on my father’s side, Little Horse, teach me about our culture and the importance of that legacy. My mother also felt it was extremely important for me to know the history of my people, both African and Native heritages. She made it a point to be aware of the history and the events we endured in this country. I was assigned book reports every summer from 1st grade until 5th grade about a variety of themes and subjects regarding our vast history: Red Cloud, Paul Robeson, Marian Anderson, Russell Means, The Wounded Knee Massacre, and many other people and historical events. This helped me to cultivate my foundation in identity, especially as a visual and musical artist. This homemade summer school sharpened my purpose to be an active contributor to supporting African and Native descendants to be heard loud and clear. There are many challenges I have faced, especially being a Two-Spirit Afro-Indigenous woman. I learned quickly how nasty people can be towards Native and Black people because of what they are miseducated on at home or in schools. There's an erasure complex that is forced on the history of indigenous people and also a “struggle
to be respected” narrative on Black people. This is in the very fibers of our DNA as each generation passes this poisonous belief along. I had to learn humility in a sense that people are programmed early on and it’s intentional. Many never think twice on the harm that is caused by saying “all the Indians are dead right?”, “where’s your Indian ID if you are a Native?”, “you don’t have to pay for anything right? Your people have it easy”, or “you just don’t want to be Black, you’re lying”. This identity erasure, forced assimilation, and displacement has been in the minds of so many over the years, that I even began to withhold my identity of being indigenous because I felt no one would believe, embrace me, or would ever begin to understand me, especially since I don’t visibly “look the part”. I poured all of this experience over into the one language everyone seems to understand: music and art. With creativity as my tool, I got to express my joy of being indigenous and my pride in being an African descendant through my gifts by the Great Spirit. It helped me to reclaim a big part of myself that I felt pressured to hide. Now as a young woman, I stand tall with my shoulders back and head held high, claiming my place not only in my heritage and racial identity as a Two-Spirit AfroIndigenous Woman but as a vessel in which I may speak the stories I have survived and honor my ancestors who made it possible for me to be here today. This year alone I will be releasing a 4-part mixtape series titled “The 4 Winds” honoring the many women who have faced trials and challenges that made it possible for me to claim stages and create in their honor and my heritage. Half of the proceeds go to programs that will assist black and indigenous women and children, that is something to celebrate! My experience as an Afro-Indigenous Woman is soulful, rich, vibrant, balanced, and present!
ALL PHOTOS: COURTESY
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The Insider Maryam Salazar I identify as a Navajo, Chemehuevi and Black woman. I grew up with the Salt Songs of the Nuwuvi and descend from the Deer Clan. I’m an enrolled member of the Colorado River Indian Tribes. Our tribe has four separate tribes: Mohave, Chemehuevi, Hopi and Navajo. I am of Navajo and Chemehuevi descent but grew up with the Salt Songs of the Chemehuevi. I am also half Black. Growing up, I was distinctly aware of how different I looked from the other Native children around me. At times I even felt I didn’t belong. It is hard to admit this had an impact on my identity and self-confidence. It wasn’t until reaching adulthood I began to fully emRegina Williams Growing up was never easy. My paternal (African American) side accepted it with awe-filled hearts. They always seemed to brag about my Native side like it was some reward. My hair was always “beautiful and long”. I had good genes and was robbed of having to take care of “negro - nappy” hair. However, I still got the stereotypical questions: “Does your family live in a tee-pee” or “Do you guys dance around fires?” The list goes on! It always frustrated me to some extent because reservations were becoming modernized. While tradition is kept, we no longer lived like so many before we did. While my father’s side praised my indigenous heritage, my material (Native American) side, kinda was ignorant about my African American side. I remember being teased and bullied at school for being different. All the stereotypical comments made about black people, I heard it. It didn’t matter if it was from my grandmother or other people in my community. I’m not sure if other Afro-Natives experienced this. My Native side made it seem like I shouldn’t carry anything from my father's side. I was told by some family members to not eat so much of certain things because it would “make my butt fatter” or “ I’d get darker if I drank...”. At the time, I even rejected the Afro side. I got perms to make
Roicia Banks I’m an African American and Native American woman. I was born in Phoenix and raised throughout Arizona as a result of being born a ward of the state. As a child, I went from foster home to foster home until I was finally placed in my “forever home”. I am an enrolled member of the Iowa Tribe of Kansas-Nebraska nativemax.com
brace that my culture could not be taken away from me because of my physical appearance nor by the negative connotations of my blood quantum. I am proud to be uniquely enmeshed in many cultures and fully embrace myself and who I have grown to be. I aim to learn and understand the intersection of Native and Black issues and want to make a difference where I can, which has propelled me in my higher education. I have a Bachelor's in Social Work, as well as a Masters in Social Work with an emphasis on Community Organizing and Policy Administration, but right now I am more than ever determined to focus on my culture to help preserve it before it is lost. It has become something very dear and vital to my heart.
my hair straight, I wanted to fit in and not feel so alienated. I never thought I was ugly or hated the color of my skin, I just never understood why I was treated with so much disgust from children on the reservation. To make matters worse, as most people know from growing up on the reservation, alcoholism is a serious disease that attacks our Native people. I grew up in an alcoholic family with a mother that was never present and a grandmother that didn’t take kindly to the responsibility. Soon my siblings and I were taken into the system which we grew up in. After years of fighting, we were able to get back to our Native roots. Most of the world was accepting of interracial children so I thought the reservation I was from would be too. They weren’t. We were still teased and treated as outsiders. Our people spoke amongst us in Native tongues because they assumed our skin color and our crinkly, curly hair meant we didn’t know our culture. I spent more of my life off the reservation than on and I’m happy about that. I love both sides of my culture equally and wear my heritage proudly. Growing up like this just opened my eyes to a bigger world. I learned how to love and understand ignorance. Now it seems like I’ve focused on all the negatives but along the way, I’ve met a lot of people that told beautiful stories of Mother Earth and its creation. I’ve gotten the honor of
however, I was adopted by a Hopi woman at the age of eight. My Hopi family are the people who have nurtured and raised me within that culture. Although they have loved and accepted me, earning that acceptance was and continues to be an ongoing struggle. Since I was a child, my skin and hair texture were always negatively impacting me; I was always treated as second class. Hair is an important part of our culture and traditional dress and unfortunately, my curly kinky hair failed to “butterfly”. Because of my hair texture and skin tone, I endured years of ridicule and bullying from my family and peers. Being African and Native is a constant internal battle. I feel I am constantly proving that I am Native enough and that I am Black enough. The issue of colorism in the African American community also negatively affected my relationships with Black people. Black girls didn’t like me be-
hearing a language that saved WWII. I’ve been given so many humbling experiences. I’ve become more compassionate and open-minded about so many things. I realize that both sides of my heritage are so very unaware of the strength that can be made from both ancestries. Afro-Native people are resilient and beautiful. I love who I am. It’s always a wonderful thing to not feel alone and have someone that can relate to some of the differences that make us unique. I’ve healed from most of my experiences on both sides and I just want to raise awareness about these issues and break some racial barriers still seen in our communities. Our skin and hair differences, as well as culture, tell a beautiful story. Sometimes people are judgemental to new things and I’ve learned that those things won’t and shouldn’t define me or anyone else. We are all queens! Let’s own it.
cause my skin color was lighter and my hair texture was softer. Living a double life, or “double consciousness” has always been difficult. I learned our Hopi language and customs quicker than my siblings and peers, with the hope of acceptance. I was always working harder, faster and smarter than my siblings who are not Black, just to prove that I am just as Hopi as they are. I have always felt that I lived in two worlds, where I culturally identify as Native American and society racially identify me as Black. Most of my high school years were spent discovering who I am and learning to accept both being African and Native. As a result, this competitive nature to “fit in” for acceptance in “both worlds” motivated me to be successful. I was raised on the Hopi Reservation however, I spent most of my childhood in Winslow, Arizona. In 2007, I graduated at the top of my class from Winslow High School.
Immediately after receiving my diploma, I went on to pursue my Bachelors Degree and studied at Arizona State University. In 2011, I graduated with a Bachelor of Arts in African American Studies and a Bachelor of Arts in Political Science. Discovering the truth of my ancestry allowed my dual identity and confidence to flourish. I currently sit on the Board of Directors for the YWCA Phoenix in our mission of Eliminating Racism and Empowering Women to include Native and African American perspectives. I am involved with the National Council of Negro Women which focuses on empowering young women of color through mentorship, community service and college and career readiness. As a woman of Native and African American descent, my primary goal is to give back to my Native American and African American community by encouraging and aiding the youth to achieve their ultimate success. ALL PHOTOS: COURTESY
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On the Cover
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Fashion & Culture Unconquered: Tomasina Chupco & Cheyenne Kippenberger Two women who hail from a tribe as unconquered as their motivation and drive. Meet Tomasina Chupco and Cheyenne Kippenberger, Seminole boss women and best friends who are successful, use their voices for power and remain unconquered.
BY KELLY HOLMES PHOTOGRAPHY BY CYNECIA MANNING PHOTO EDITING BY JOYANNE PANTON MAKEUP BY BILLIEE BEAUTY
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hen it came time for my team and me to brainstorm this issue–dedicated to Indigenous women–we were excited! We wanted to include indigenous women on the cover who are successful, use their voices for power and remain unconquered. This explains why we’re ecstatic to have Seminole women and best friends Tomasina Chupco and Cheyenne Kippenberger grace this issue’s cover. This is the first time we had Seminole representation on the cover, which is what makes this feature monumental for Native Max. What a statement we are all making by having Tomasina and Cheyenne as the cover feature, two women who hail from a tribe as unconquered as their motivation and drive. The Seminole Tribe of Florida is famously known as “The Unconquered Tribe,” because between 1817 and 1858, the Seminoles fought three wars with U.S. troops, in which they never lost those battles. Instead, they fought to a draw, and never declared surrender to the U.S. government. Tomasina, who’s of the Seminole Tribe of Florida and is originally from Fort Pierce, FL, is certainly the businesswoman, philanthropist, and quiet leader. She has a Doctoral Degree specializing in Educational Leadership from Lynn University, and with that possesses about a decade’s worth of experience throughout tribal departments along with working alongside other tribes and nations. Tomasina has been working with the Native Learning Center as the Training and Development Assistant. Aside from helping plan the 3rd Annual Seminole Tribe of Florida Renewable Energy and Sustainability Conference, Tomasina is also the creator and designer of Indigenous Intentions, a small jewelry line of customized-contemporary Native American cuff bracelets and earrings crafted from precious metals and glass beads. It’s worth mentioning that proceeds from jewelry sales are contributed to causes and movements that combat the MMIW [Missing & Murdered Indigenous 22 NATIVE MAX MAGAZINE | FEBRUARY/MARCH 2020
Women] issue and continue the fight for no more stolen sisters. Most recently, Tomasina launched Indicoco Collective, an online safe space collective for Afro-Indigenous womxn wanting to heal and connect through a unique lived experience and identity. Last fall, Tomasina was one of forty award recipients of The National Center for American Indian Enterprise Development’s 2019 Native American 40 under 40 awards. Each year, the National Center recognizes forty emerging Native American and Alaska Native leaders who have demonstrated leadership, initiative, and dedication and made significant contributions in business, their professions or their communities. Cheyenne is a member of the Seminole Tribe of Florida and is the current crown holder of Miss Indian World. Cheyenne is extremely communityoriented and looks for ways she can support her community while sustaining her Seminole culture. She is the proud Chairwoman of “Healing The Circle in Our Tribal Communities” Symposium of the Native Learning Center and upholds tribal teachings by practicing sewing traditional Seminole patchwork. Cheyenne once mentioned being strongly inspired by Native Congresswomen Sharice Davids and Deb Haaland. She is a former Miss Florida Seminole and uniquely, the first Seminole woman to hold the prestigious title of Miss Indian World in the program’s thirty-six-year history. As the current Miss Indian World, Cheyenne strives to bring awareness to the strength and resilience of Native American and Indigenous peoples, help de-stigmatize mental health and put forth efforts in gaining quality representation in the media for Native American and Indigenous people globally. The amount of work these two women do for Native people is empowering. Power and influence now take many forms. It also demands the ability to inspire and create change, which is exactly what both Tomasina and Cheyenne do. Not only do they use their power and platforms to promote causes and host events, but they can also move a fashion company to seize selling nativemax.com
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offensive products. New York-based fashion designer Ulla Johnson’s namesake brand dropped Resort 2020 Collection which wrongfully appropriated the Seminole culture. The collection included a handful of items profiting off of the blatant use of Seminole cultural designs and patchwork such as the Mika dress, Kima Top, Simi Skirt and Milou Heel, to name a few. The Milou Heel was especially problematic; the heel featured Seminole patchwork with a wooden cylinder block heel and was listed as “Seminole Patchwork” on the 24 NATIVE MAX MAGAZINE | FEBRUARY/MARCH 2020
website. Indigenous people all over the country caught wind of it soon after Cheyenne posted screenshots of the appropriation on her social media pages. Cheyenne asked her followers to contact the brand and demand for them to take down the products for cultural appropriation as well as violating the Indian Arts and Crafts Act of 1990. Following the backlash, Ulla Johnson pulled the products from its website but didn’t issue an apology for the appropriation. This just goes to show one should not mess with the Seminole culture. It’s evident the love and pride both Tomasina and Cheyenne have for their Seminole heritage. For the cover shoot, we collectively decided every detail of the photoshoot should present the women’s culture at its richest. The shoot took place in Miccosukee Indian Village. Considered “The Heart of the Florida Everglades”, the village and museum offer visitors a glimpse into the Tribe’s unique way of life, with its history and culture preserved through historical documents, archival photographs, and original artifacts. Tomasina donned a contemporary-style dress featuring traditional Seminole patchwork made by Seminole-owned Simply Savage Steffs along with jewelry by Indigenous Intentions and Laura Clay. In contrast, Cheyenne’s outfit for the cover shoot was more traditional and consisted of jewelry made by Seminole beadwork-creator Dakota Osceola with her dress and outfit by the late Donna Turtle. Makeup for both ladies was provided and completed by Seminole makeup artist and beauty brand Billiee Beauty. Although diverse, it was beautiful to have both Tomasina and Cheyenne bring their styles, fashion senses, and cultural pride to the shoot’s aesthetic. Both represented their Seminole culture fabulously from head-to-toe. What we love and admire about the pair is how much they incorporate their Seminole culture into their daily lives, from the projects they’re working on and their outfits to using their power and influence to inspire and create change. Their success, their drive to help Native people and their voices for power remain unconquered. Thank you, ladies, for sitting down with me. We’re so excited to have you on the cover of this issue. First off, what tribes are you two from? Where did you grow up? nativemax.com
Tomasina: I am from the Seminole Tribe of Florida. I grew up in Fort Pierce, Florida but my family was back and forth between Fort Pierce to Brighton Reservation. Cheyenne: I’m a part of the Seminole Tribe of Florida and Chilean from South America. I grew up on and off and Hollywood Reservation in Hollywood, Florida. So I recall you two saying how you were best friends. How did you two meet? How do you both encourage each other and work together as Seminole womxn? Tomasina: We met at the gym. Cheyenne is way more outgoing than I am but we instantly clicked. We think it’s important to align with others who have an ambitious mindset and are committed to self-development. Cheyenne: Aw, at yoga! We’re all about empowerment and uplifting. There’s so much lateral violence in all our communities so we try to counteract that with hyping each other up and putting each other on. All in all, just being good to each other as friends and business partners. Together: Together we work to bring awareness and healing, not just to our community, but to all of Indian Country. Our partnership began with the first-ever Healing Symposium speaking about ‘taboo’ topics in many communities. You both do amazing work for your community and beyond. Tomasina, explain the collective Indicoco Collective. What was the inspiration behind the collective? What is your mission and how do you hope to empower AfroIndigenous womxn? Tomasina: The Indicoco Collective was an idea I had years ago. I am surrounded by such beautiful and ambitious Native & Black, Afro-Native, and Afro-Indigenous womxn. It’s, however, they choose to identify. After receiving my Doctoral Degree, I saw the opportunity to give back and serve Indigenous womxn differently, that was to make an inclusive community. I was aware of the power moves that they were making within the community but they were unaware of each other. We are so dispersed, so it’s a great idea to get to know each other, start the conversation about breaking identity barriers, and initiate the healing process of the stigmas we may face within our communities or the world as a whole. The mission of the Indicoco Collective is to provide a safe space for Afro+Indigenous womxn who want to break identity barriers within Afro+Indigenous communities through healing, empowerment, inspiration, & storytelling. Healing is a process and we invite you to this safe space and journey to heal, grow, learn and love with the support of diverse womxn. There’s no right way to heal, but together, we can make the strides necessary to truly make a difference. I hope to empower them by simply reminding them of who they are, they already know who they are but sometimes we get so caught up in other people’s perception of who we are. Cheyenne, what were you doing before Miss Indian World? After winning the renowned title, has anything changed for you? How did you use your newfound platform for change? Cheyenne: Before MIW, I was serving my tribe as Miss Florida Seminole, but before that, I was so lost. I graduated from college and I was trying to figure out who I was and who I wanted to be and doing pageantry helped me find that version of Cheyenne that I was aspiring for. The biggest change is that I’m proud of myself, really and truly just proud. I didn’t always feel that way and it was such a hard, beautiful journey but I love me, I love this Cheyenne. This lifetime is an honor. I am surrounded by incredible people and I love the work I do. My time as MIW is coming to an end, but I walk this new path with my head high and proud. I know what I have done and I know what I’m capable of, I am a force to be reckoned with! Mvto to the Breathmaker for making me, me. While we’re on the subject of your platforms, how did you use your influence to confront and take on cultural appropriation? What was your response to Ulla Johnson appropriating Seminole patchwork and culture? Cheyenne: Girl, the audacity. Tomasina: I was super disappointed and then I thought about the high-fashion industry and rolled my eyes like, “here we go again.” Together: We know the power of social media and know that other Indignativemax.com
enous people would understand our frustration. As soon as our community [Seminoles] caught wind of the situation, everyone including other Native communities took to social media. That showed that we couldn’t be silenced. Unfortunately, this is another example of wrongful appropriation which is not only illegal but harmful to Native culture and businesses. What and how do you want designers who appropriate to learn from their appropriation? Tomasina: I think that non-Indigenous/non-Native designers should be respectful of the culture and history. Learn to go to indigenous/Native designers and ask to partner with them instead of stealing ideas and thinking labeling it as the tribe’s name is being respectful and showing homage. Appreciation and appropriation are two different things. Cheyenne: Learn the difference between appropriation and appreciation. And have accountability! I do feel like there are instances that people just don’t know that what they are doing is inappropriate, but educate yourself, ask questions. Our people will let you know what is and is not okay. Our people have fought to wear our clothing and it hurts when our designs blatantly get stolen to be mass-produced and sold for insane prices when our seamstresses are being told their handmade, individually designed pieces are too expensive. It’s definite that you both love and take pride in being Seminole. What do you love most about your Seminole culture? Cheyenne: I love my people. I love our history, our homelands, but I love our clothing. You will never see the same skirt twice. Everything is handmade and individually-designed and each seamstress has its style and designs that they are known for. Tomasina: O-M-G! Where do I even start, so many things! I love the connectedness and our creativity. I am still amazed at the seamstresses within the FEBRUARY/MARCH 2020 | NATIVE MAX MAGAZINE 25
“We are a proud tribe. We are the Unconquered. What is Seminole, will always be Seminole.” -Tomasina Chupco & Cheyenne Kippenberger
community. We know how to make something out of nothing and are very resourceful. We make clothes out of scraps and it’s also therapeutic for us. Can you elaborate on how you both incorporate your Seminole culture and aesthetic with today’s contemporary fashion style? Is it empowering for you and how? Tomasina: I incorporate Seminole culture and aesthetics with today’s contemporary fashion style by wearing clothing that is traditional with a modern twist. Cheyenne and I are public speakers and when travel for our speaking engagements we make sure we represent where we are from with pride. She usually leans more towards the traditional way of dressing being Miss Indian World and I lean towards the professional way of dressing being Doctor of Education. Cheyenne: I agree with Tomasina and I love that about us because we show a contrast between the clothing we choose to wear while coming from the same Seminole culture. What makes both of you proud to represent your Seminole culture on the cover? How does it also show the diversity in Native womxn? Tomasina: I am proud to represent my Seminole culture on the cover because it showcases how talented and creative we are in all areas, especially fashion. People are intrigued by Native American fashion so why not show an authentic Seminole-made piece on a Seminole womxn. I feel as Native womxn, we need to reclaim the beauty of what’s ours and what’s made by our very own. I show diversity because I do not look like what people think a Native American looks like. I am proud to be Native and Black and this cover shows that pride. Cheyenne: I wear my ahoones [dresses in Seminole] proudly. There was a time that we weren’t allowed to wear our traditional clothing at all, we fought to live here, to speak here, and to wear our Indian clothes. The dress I wore in the photo was passed down to me by my older sister (she’ll say I stole it from her closet). We survived genocide and our clothing did too. And today, our patchwork designs are even the “inspiration” behind some high fash-
ion designs. So I’m going to wear them proudly and unapologetically. As a modern, Indigenous womxn, I am not full anything, I’m mixed. I’m a walking Indian taco. The diversity we wanted people to see in this cover is that we come in different shades and looks and that you can be this super bossed up business womxn and still be traditional! We don’t walk in two worlds, we walk our world. So strut it, in your traditional clothes or a power suit! The theme for your feature and photoshoot is “Unconquered Seminole Fashion”, what was the inspiration behind it? Together: We are a proud tribe. We are the Unconquered because we never gave in to the U.S. government and now we are refusing to give into appropriators. What is Seminole, will always be Seminole. Why did you both choose the Miccosukee Indian Village as the location for the cover shoot? Together: When we think of who we are, we think of the tall grass over the swamp and big oak trees. This is what we wanted people to see, our homelands. The swamps that make the Florida Natives and the pure history encapsulated in a modern-day still shot. What are your wise words to other Indigenous womxn who want their cultural fashion to remain unconquered? Cheyenne: Be unapologetically you, obnoxiously you even. Wear your traditional or contemporary clothing loud and proud. I used to hate being stared at when I would wear my Indian clothes, but now? All eyes on me! (Just kidding, kinda ay [laughs]). I feel my most beautiful when I’m done up in one of my skirts. Protecting our traditional clothing is not just making and creating it, but wearing it! It is part of our identity. Tomasina: Be proud of who you are and where you come from. Protect it because it’s yours, this isn’t just confined to fashion, it is the culture in general. Our people fought for us to still be here. We are descendants of warriors so continue to fight and protect. There are laws in place to aid in the protection. It’s great to be aware of those laws and use them to your advantage.
Cheyenne: Jewelry by Beadwork By Dakota; Dress/Outfit by the late Donna Turtle; Make-up by Billiee Beauty; Tomasina: Jewelry by Indigenous Intentions and Laura Clay, Dress/ Outfit by Simply Savage Steffs, Make-up by Billiee Beauty. Shoot location: Miccosukee Indian Village.
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On Radar
Coming for their Crowns: Lindy Vision
There’s a group of Native female musicians coming out of the southwest for their crowns. PHOTOS: COUGAR VIGIL (@NDOIVIGIL)
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On Radar Lindy Vision is an indie-rock band comprised of three Black Native sisters: Dorothy “Dee Dee”, Natasha (Na), and Carla, who rounds out the group as the youngest sister. If M.I.A., the Yeah Yeah Yeahs and Santigold had a love child, it’d be Lindy Vision and their “female Devo” vibes. The Albuquerque, NMbased band caught our attention with not only their unique sonic palette of dark ‘80s new wave, bouncy synth-pop, and ethereal indie-rock, but their vibrant and colorful clothing and personalities on-stage. Lately, these sisters are gearing up for the release of their newest album and plan to embark on the “Adult Children Tour” to share their music with the world. With promises to blow their fans’ minds away with a fresh electric set and songs off their new album, these ladies are out for their crowns.
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here’s a group of Native female musicians coming out of the southwest for their crowns. Not content with just listening to their latest music, we wanted to get to know the girls–and sisters–behind LINDY VISION. What we discovered about these Jicarilla Apache sisters was that their music is very autobiographical and they use color to represent themselves culturally as both Native American and African American women. Over to them… Sisters Dorothy “Dee Dee”, Natasha “Na”, and Carla Cuylear, White Clan Jicarilla Apache of Dulce, New Mexico, all work together for the band, where each lady brings different aspects to the group. Oldest sister DeDe brings leadership and ambition to the band, with middle sister Na contributing balance and wisdom while youngest Carla brings creativity and attitude. As Afro-Native women, it’s important for them to create a belonging space for people of color during their performances where everyone can enjoy their music freely.
creativity and attitude. Why is creating a safe space for people of color/ Native people important to you? Creating a safe space for people of color/Native people is important to us because it’s about being inclusive as opposed to exclusive. It’s about creating a belonging space where people can be accepted just as they are. When you go to a show, all you have to do is show up and be present. When you are listening to the same music with others, there is an instant bond and togetherness that is created among your audience. I think dancing and singing are two of the most joyful things a group of people can do together and so it’s easy to create a natural safe collective experience for P.O.C. and Natives in this environment, especially in a culture that has not always been loving and accepting of this particular community.
You ladies are sisters. Who’s the oldest and the youngest? Dorothy (oldest), Natasha (middle), Carla (youngest). What inspires your music? Where do you find the most inspiration for upcoming music? Our music is very autobiographical. So our own lives and personal experiences really inspire our creative process. As for the most inspiration for upcoming music, I think other artists and their music really inspire us. It’s like whatever we’re listening to at the time can really steer the direction we choose to take a project. Describe your music in three words. Timeless, dynamic and unique. Who sings and plays instruments in the group? What does each of you bring to the band? DeDe is lead vocals, synth, and lyricist. She brings leadership and ambition to the band. Na is lead/rhythm guitar, bass, and backup vocals. She brings balance and wisdom to the band. Lastly, Carla is on drums, synth, and the beat-maker. She brings
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How do you want people to feel when they hear your music? Alive and connected.
What’s next for you ladies? We are preparing for the March 6 release of our new EP, “Adult Children Part II”, which is the companion piece to our 2019 EP, “Adult Children Part I”, and continues our exploration of life as adult children of alcoholics. What would be your advice to aspiring artists? To aspiring artists we’d like to say: always trust your gut and listen to your intuition and trust that only you know the path and journey that you are on. Try to not listen to the advice and opinions of too many people, especially if they are not a loved one or if they don’t have your best interests in mind. And of course, never give up, persistence is key when pursuing your dreams. You girls are very vibrant and colorful, from your music to your physical look and aesthetic. Why are colors so important to you and your music? Colors represent so much to us culturally as both Native American and African American women. Our tribal clan colors are white and red so since the day we were born, colors have represented who we are and where we come from. Being of African descent, we’ve really embraced African colors and prints into our aesthetic. We love fashion and we think it’s fun to mix and match and play with different textures and styles. We’ve also studied some Eastern philosophies, and colors can represent different energy, auras, and Earth elements. So I think we’ve really embraced the idea that colors are empowering and an important visual aspect to our artistry. What is your creative process when you ladies start making music? Our creative process is always collective. We do everything together. Usually, one person takes the lead with a certain part, for example, Na might have a guitar rift or Carla might have a beat or DeDe might have a vocal melody and then we build a song from that one part. The person who takes the lead part usually has a song inspiration in mind and if the other members get writer’s block, then we can use the inspiration song as a reference. It’s a fun collaborative process and it’s one of our favorite parts about being in a band. We really inspire each other when writing together. Listen to Lindy Vision’s latest music on lindyvision.bandzoogle.com.
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NATIVES COUNT 2020!
CENSUS DAY FOR MOST AMERICANS IS ONE YEAR AWAY, ON APRIL 1ST. On April 1, 2020, the U.S. Census Bureau will conduct a count of all people living in the United States and the Tribal Nations in the United States.
THE FIRST AMERICANS WILL BE THE FIRST COUNTED BEGINNING IN JANUARY 2020. Alaska Natives will be the first counted, beginning with the Nunakauyarmiut Tribe (formerly known as the Native Village of Toksook Bay) in Alaska. The 2020 Census is being taken in Alaska earlier than elsewhere because many villages are in remote areas and residents often leave their communities in April for subsistence fishing and hunting and warm-weather jobs.
NATIVES NEED TO BE COUNTED TO SECURE FEDERAL DOLLARS. About $600 billion in federal funding is distributed annually based on population counts obtained by federal agencies.
– Each person counted equals $3,000 in funding for your community. A 2000 study determined that undercounting the largest counties in the 2000 Census cost those communities nearly $3,000 per person.
– Dollars that impact Tribal communities are lost if you are not counted. In 2016, federal funding disbursed based on people counted in Census surveys included $361 billion for Medicaid, $40 billion for roads, and about $37 billion in programs for families and children including TANF, CHIP, and WIC.
NATIVES NEED TO BE COUNTED TO PROTECT TRIBAL SOVEREIGNTY. The Census count is used to determine voting boundaries to elect officials in non-Tribal elections. You need to be counted to have an equal voice to elect candidates who will respect Tribal sovereignty, preserve your culture, and fairly allocate resources to Indian Country.
NATIVES NEED TO BE COUNTED TO PRESERVE THEIR LANGUAGES. Census data is used to require non-Tribal governments in many areas to provide assistance in American Indian and Alaska Native languages for voting, social programs, and emergency services.
WHAT CAN YOU DO? There are many ways you can make a difference in making Natives Count in 2020.
– Apply to be a Census taker. The U.S. Census Bureau is currently hiring for 2020. For more information or to apply, go to https://2020census.gov/jobs.
– Start or join a complete count committee in your community. Complete count committees help identify and count Tribal members in your community.
– Go to the Natives Count website. Visit http://census.narf.org/ for the latest information on the Census, tool kits, and other information to make Natives count!