TopPodcast.com
Menu
  • Home
  • Top Charts
  • Top Networks
  • Top Apps
  • Top Independents
  • Top Podfluencers
  • Top Picks
    • Top Business Podcasts
    • Top True Crime Podcasts
    • Top Finance Podcasts
    • Top Comedy Podcasts
    • Top Music Podcasts
    • Top Womens Podcasts
    • Top Kids Podcasts
    • Top Sports Podcasts
    • Top News Podcasts
    • Top Tech Podcasts
    • Top Crypto Podcasts
    • Top Entrepreneurial Podcasts
    • Top Fantasy Sports Podcasts
    • Top Political Podcasts
    • Top Science Podcasts
    • Top Self Help Podcasts
    • Top Sports Betting Podcasts
    • Top Stocks Podcasts
  • Podcast News
  • About Us
  • Podcast Advertising
  • Contact
Not in our directory?
Add Show Here
Podcast Equipment
Center

toppodcastlogoOur TOPPODCAST Picks

  • Comedy
  • Crypto
  • Sports
  • News
  • Politics
  • True Crime
  • Business
  • Finance

Follow Us

toppodcastlogoStay Connected

    View Top 200 Chart
    Back to Rankings Page
    Arts

    Grand Canyon Speaks

    Welcome to Grand Canyon Speaks! We are airing live interviews that park rangers had with artists from the 11 associated tribes of Grand Canyon National Park. This series explores the lives and perspectives of people who call Grand Canyon home.

    Advertise

    Copyright: © Copyright 2023 NPS - For Personal Use Only

    • Apple Podcasts
    • Google Play
    • Spotify

    Latest Episodes:
    Skylar Blackbull Speaks - Veteran's Day Special Dec 09, 2024
    Show notes

    In this episode, interns Meranden Numkena and Lakin Epaloose speak virtually with Diné artist Skylar Blackbull for the Veteran’s Day Special as she explains her artwork on the Navajo Code Talkers, collaborating with one of her role models, and the importance of the Grand Canyon to her tribe. ---TRANSCRIPT:--- Skylar Blackbull: So it's really neat to see kind of the breakdown of this code because I think when a lot of times we hear about this history you don't actually get to see what the code looked like and I wanted to use this project to kind of give a chance for people to not only know more about the history but also see the code and see what how it worked and how it operated. Meranden: Welcome or welcome back to Grand Canyon Speaks. This is Meranden Lakin: And this is Lakin and we're both interns at Desert View. Meranden: In this episode we talked with Skylar Blackbull who is a Diné artist. We invited her out for an in-person conversation but as we head into winter here the snow decided to come and she wasn't able to make it. Lakin: But we didn't let that stop us though, so thankfully we were able to meet with her virtually. Meranden: And as this is our Veterans Day special episode she was able to talk with us about her amazing piece called Unbreakable Code that highlights the Navajo Code Talkers. Lakin: Yeah it was really interesting to learn more about the different components of this artwork along with getting to know more about her creative journey. Meranden: Also it was really cool hearing about an opportunity she had to collaborate with someone she looks up to. Lakin: So we hope you enjoy this episode and here is Skylar Blackbull. Skylar: My name is Skylar Blackbull. I am from the Hosta Butte area in New Mexico currently in Colorado but no I've been you know doing art outside of college for about about two a year and a half almost two years and I've been on my artist journey since goodness since I can remember and I'm just thrilled to be able to be part of this podcast be able to share you know my journey as an artist and the way that I use the way my experiences growing up to influence my work. Lakin: Have you been to the Grand Canyon? Skylar: I have a very long time ago. I was just a young girl. My parents had taken my sister and I twice and we both did not actually walk down the canyon. We were strapped onto a backpack and our dad walked us down the canyon. But the two times that I have gone it I have very fond memories of being out there and just how beautiful the scenery is. Meranden: Nice yeah I think that's something I noticed with these speaks is that usually when we bring them out or it's a cultural demonstration it's usually their first time coming or it's something they haven't been here in a long time. We can go ahead and go to the second question. When did you first start your artistic journey? Skylar: Sure to be honest I always had a love for art and creativity growing up. My dad being a very gifted illustrator himself and just being around that and him you know doodling for my sister and I on napkins and things of that sort. I've always had such a connection with creativity including drawing on our walls at home which was probably not the best thing ever. But no like art was such a big stress reliever for me growing up. I loved being part of art classes all through elementary school, middle school, you know high school. I really didn't you know find my passion or my niche until about when I went to college in my undergrad. I initially started off with a degree in science. I was planning on going in biology and then eventually I switched to kinesiology and then I was like ooh nutrition sounds great. And then I throughout those first two years of college I had been taking a lot of art classes as a way to just kind of have a breather from all of the other college classes and ended up having so much fun with these classes and enjoying them so much that my professors even convinced me to you know switch my major over to the art department. And the end of my sophomore year beginning of junior year I completely switched gears and went full towards a degree in graphic design and studio art and never looked back. Meranden: It's really interesting seeing how much the classes and like those experiences and like professors play a big role in what we want to do. So yeah that's really cool. Lakin: Yeah it's also good to hear that you follow your intuition and that you weren't afraid in that action. So it's always good to hear when people do that whether it's creatively or just when it comes to following a path that's oriented towards a set of value goals. Skylar: Yeah absolutely and I agree a lot of times when you go into college you kind of go in with these big expectations of I need to go with a science degree or like a very you know a big degree. And you know just have like you said the professors really are big influences in your time at those universities and just hearing their own experiences and their own encouragement of just saying hey you know any possible career or life that you want is very possible. It's just figuring out what works for you and what drives you. Because the last thing you want to do is go into a field for you know a career and not feel fulfilled in it and feel that you didn't take the road that you should have taken. And not that saying that you can't restart at any age but it's always it's a blessing to know that I was able to figure it out within my undergraduate degree. Lakin: Since you started creating what medium or media have you explored with? Skylar: I started off with just your basic pen, paper, pencils, charcoals. At the beginning of my art journey I used to be really against color. I hated anything with color partly because I didn't quite understand it either. It was really intimidating but in having different art teachers and professors they were able to kind of you know break those walls of just the intimidation of certain mediums. And I took a lot of classes in college to kind of learn you know different styles of art. So I had to I now have kind of expanded my artistry with not only traditional illustration but I'm also an oil painter, acrylic painter. I took a print making class in college and now I started implementing that in my own work. So I do linoleum prints. I also taught myself how to bead about two years about three years ago I'd say. Yeah those have been my my main sources of work as well as of course my digital work as well. Meranden: When we first met you I really liked your bags and I was like really excited for you to come out here because I was like I'm gonna buy it finally. But yeah like I like your bags and then the stickers it's just like it brings like a really homey vibe of like being back home on the rez. The spam can, the cheii, like all those things. I really like those kind of little reminders that make you feel like back at home. So those are my favorite that I really enjoyed seeing. And then I have seen like your beadwork and things like that on like socials. So it's really cool to see how you've diversified yourself over time. Lakin: And I also feel like when you do approach those I guess a new skill set, you go into it knowing that you'll have some mistakes and failures in that initial learning process. But once you get over that learning curve it becomes I would say like therapeutic in a way. Skylar: Absolutely, absolutely. I always you know in taking all of those classes or you know the self-teaching component, I feel like those challenges are what pushes me like no I'm gonna figure this out. I want to figure this out. This is something I've always wanted you know. And it also is really neat because the more that I have expanded the mediums that I work with, the more that I'm realizing a lot of them kind of bleed into each other. That you don't have to just use certain skills from one type of artistry. You can use it for multiple. Like I have recently just started blending my beadwork and paintings. Like I feel like there's a way that you can merge different styles of artwork together to kind of create your own unique style but also improve upon many different you know parts of your your art. Lakin: And I feel like that's a special characteristic of being an innovator or a visionary. So yeah. Meranden: Yesterday was Veterans Day. This is our Veterans Day special episode. We are very interested in highlighting your art as it revolves around the Navajo Code Talkers. Would you be able to explain a little bit of who they are and what your artwork entails? Skylar: Yeah absolutely. So you know my initial interest in this project that I created really did stem from not only by having family who had served in the military. My husband is currently on active duty in the army now. But also just you know I feel like this is such an important part of history that's not as highlighted in your history courses within the education system. And I didn't realize that until I left the rez. Until I was in college on the east coast. And I have always get questions like "Oh where are you from? What are you?" And I'm like I'm Navajo. I'm from the Navajo Nation in New Mexico. And they're like "What is that?" And I'm like what do you mean what is that? And just those countless interactions of people just not even knowing who the Navajo people are was really that it was such a big eye-opener for me to know that like wow people don't have the privilege of learning that history. And being one of the few indigenous students on that campus and since I had switched my major to you know art I thought this would be a great opportunity to kind of utilize the skills into creating some sort of visual memorial but also a way for others to be a little more aware of the importance of this history. So the project that I made was called the Unbreakable Code. And it brings recognition to the bravery and sacrifice of the Navajo Code Talkers during World War II. And the great thing is that the Code Talkers really did restore you know pride in our sacred language. And this entire project honors 420 plus Code Talkers that I've served but highlights the 29 men who created the initial code. As with the history of that it's important to know that you know in the making of this code Navajo wasn't a written language. So it's really neat to see kind of the breakdown of this code because I think when a lot of times we hear about this history you don't actually get to see what the code looked like. And I wanted to use this project to kind of give a chance for people to not only know more about the history but also see the code and see what how it worked and how it operated. So with one of the pieces here I can show you now. So this is Nelson S Thompson. This is his name that covers the entirety of this panel. So what I had done was I used the original code dictionary from World War II and took the alphabet component and used the alphabet to spell out their name in code which was a really neat way because not only did using the alphabet I also got to learn more about the code itself which was really great. So this 29 panel installation it covers many different images as you can see in like different pieces here different images as well as different coding to honor different aspects of the Navajo people. So for instance you have this one has arrowheads this one has the feathers and then there are two more that highlights corn as in representing corn pollen and then this one representing the tobacco leaf and that all together kind of hints at the ceremony that they do for soldiers before and after they go to war the enemy way ceremony and about how it protects them from harmful spirits before and after the war. It's a very subtle way of hinting that but it's a nice you know way to kind of see that they still maintain their their practices throughout this whole time. But yes in all of my colors as well also have meaning they all reflect back to the Navajo medicine wheel and of course the four sacred mountains. So those are the colors in the incorporation of red symbolizes bloodshed during war. So there's a lot of hidden components in this project that I created but I also wanted to use those hidden components to represent their the Code Talkers inability to speak about what they have done during World War II till after 1969. But now with this project it was such an honor to present a visual memorial for the 400 plus men who have sacrificed so much and our people continue to sacrifice so much and creating this project it was a way for people just to see this type of history in a different way but also learn more about it as well. Lakin: Yeah that's good too, I mean it's very interesting obviously not only good but it's very interesting when you see art and hear about artists who connect all these aspects of culture and just understanding the physical and the metaphysical world and like you connected the aspect of color and then also the landscape and just the history itself. That's regarding the Navajo Code Talkers and being able to express that in this one artwork. It's like a huge story in one intangible expression. So when it comes to understanding the landscape and how it informs your identity we'd like to know what does the Grand Canyon mean to you? Skylar: Sure so you know in learning about our traditional stories with the Grand Canyon for instance you know the story of one of the last battles the twins have with your monster slayer has is at the Grand Canyon with the wandering rock monster and it's really interesting because when you think about that traditional story about how monster slayer is you know going to go fight this wandering rock monster because he's hoarding water and it's kind of reminiscent of the current battle today with the Navajo people in the Colorado River. But now I mean in terms of like that importance of the Grand Canyon is understanding the importance of that Colorado River for the Navajo people and another thing too is I wanted to mention as well is that growing up on the northeastern agency of the Navajo Nation you don't quite hear or understand the importance of that Colorado River for the Navajo people because it's not something that's talked about a lot on the rez just because it's mainly with the people on the western agency you know that have that who need that water and I think it's really important that it is a conversation amongst the entire nation because you know we didn't really hear about it too much especially with you know growing up where I was and I'm really thankful and happy now that I have now become more aware of the importance of that Colorado River and the water for our people but no I mean in terms of it's really interesting just to kind of think about oral traditional stories kind of you know foreshadowing or something just kind of recircling back around how it still circles around this water issue and it's really interesting. Meranden: And I just want to backtrack on your artwork on the whole Navajo Code Talkers it's like makes me speechless to see it not a lot of people know about that or like you said there's people who don't know that we exist or they don't know about the Code Talkers we have this knowledge and being able to learn these different things so that we can spread that to other people so that they know that we're here we're still doing things and our tribes are still here so your pieces have a lot of impact on me just seeing like seeing that being able to hear the stories on it…

    Full show notes at the publisher

    Zane Jacobs Speaks Nov 01, 2024
    Show notes

    In this episode, Ranger Annie speaks with Zane Jacobs (he/him), who is Diné and the first traditional, local president of Flagstaff Pride! The conversation revolves around his experiences with Flagstaff Pride starting as a volunteer to now president, along with how he grew up with the Grand Canyon in his backyard. ---TRANSCRIPT:--- [Zane Jacobs] I like to play with gender roles. I will put some eyelashes on, some highlighter, and a full beat on my face and go out. I've gone out in heels, I've gone out in corsets, I've played both roles, and I've never felt uncomfortable in my skin, and I wish I had that confidence back then. [Meranden] Hey y'all, welcome to Grand Canyon Speaks. This is Meranden, and I'm an intern here at Grand Canyon National Park. [Ranger Melissa] And this is Ranger Melissa. [Meranden] Before we jump into this episode, we are so excited to welcome you to season two of the podcast. Oh yeah! [Ranger Melissa] Yes, our team has been able to have some amazing stories and conversations with more voices, more lived experiences, and more fun. [Meranden] We hope you are just as excited as we are to venture through season two and get to hear some amazing stories. [Ranger Melissa] Speaking of amazing stories, let's start off with Zane Jacobs. He is Diné and the first traditional indigenous and local president of Flagstaff Pride. [Meranden] Yeah, and it was so exciting to hear his connections to the Grand Canyon, his experiences with Flagstaff Pride, going from a volunteer to now president, and what it means to live in Hozho. Once again, welcome to season two. And without further ado, here is Zane. [Ranger Annie] I'll let you introduce yourself, Zane. [Zane Jacobs] Hi everybody. My name is Zane Jacobs (Introduces self in Navajo) I go by pronouns he/him. I am also the president of Flagstaff Pride. And yeah, I live in Flagstaff, Arizona. So yeah, I'm excited to be here. [Ranger Annie] Cool. And so I do like too that you mentioned your pronouns. So he/him. I go by pronouns, or I use pronouns they/them. Do you want to talk a bit about why those are important? [Zane Jacobs] Yeah, I think pronouns are extremely important, not just our community, talking about the 2SLGBTQIA+ community, but in all communities, it's an easy way to reaffirm someone's identity. It's, you know, it's validate who we are. And it's simple. It's just, it's an easy way to do it. And I think it's, yeah, why not? Yeah. [Ranger Annie] And so how do you identify? [Zane Jacobs] I am actually a gay Diné man. So I am a Navajo male that is gay. Yeah. [Ranger Annie] And so what is some of the history of queerness in Diné and Indigenous cultures? [Zane Jacobs] So quite a bit. So I wrote some talking points down, so I didn't forget them because I'm horrible on a mic and a stage, which is kind of crazy because you see me on a stage a lot. So in Indigenous cultures, queer identities were actually just part of the community in the past. They've always been recognized. They've always been appreciated, especially in Diné culture. We have had, I forget the word. I mean, my mom's in the audience here, so she may actually know the word, but it means special people. So where we are all genders and no gender at the same time. So our two-spirit, which we go by nowadays, has always been recognized by the Diné people here. [Ranger Annie] And did you ever notice like a change, like when people started using the terminology two-spirit in your community? [Zane Jacobs] I did. So two-spirit comes from the mostly Plains tribes. It started in the 1990s and then all kind of Indigenous people kind of accepted the term as two-spirit. There has been a little bit of change with the Diné people who go by two-spirit, but our culture has lived with this since the beginning of time. So I say two-spirit because it's easier for some other communities to relate to that, but I identify in my culture as I am who I am. I've always been that person. I've never had to say that I'm two-spirit in my Diné culture. So there is a little bit of a change, I guess, just to have everyone kind of have a common space, but I've never actually had to do it in my actual family. [Ranger Annie] So yes. And so what was your journey to learning about your identity? [Zane Jacobs] It's a long, important journey, and I think it's an important journey for everybody, you know, for some self-reflecting and knowing who you are and actually being able to speak who you are. My journey was very simple because I come from an amazing family. So I have an amazing foundation. I have a very traditional Diné family, but I'm also half-white, so a very supportive family on my white side as well. I've actually never come out of the closet, and I joke about it all the time. I've always just been myself. So nowadays you hear these kids having these elaborate coming out parties, so maybe I'll have one soon. But right, I've actually, I've always been so comfortable in my own self. I've never had to do it. I've never questioned about bringing a boyfriend home. It was just, "Zane's gonna bring someone", you know? I've just always been myself, and they've always accepted me. [Ranger Annie] Yeah. [Zane Jacobs] Yeah. [Ranger Annie] And do you want to talk too more about your experiences like outside of your family too? [Zane Jacobs] Yes. So I'm very, and I'm very outspoken. I am very who I am and will tell you to your face if you don't like it, get over it, or I'll leave. I don't have to be there, and I don't like confrontation. I don't, you know? But more and more, I feel like this generation especially has been so accepting and just open to more things that it's kind of easier now. Growing up, maybe not so much. We had to fight a lot. I'm 42, so in my generation we had to fight for gay marriage. It was a big thing, you know? This generation didn't have to do that. I have been part of, like I said, I'm president of Flagstaff Pride. I have been on the board of directors for 17 years in volunteering ways on the executive committee and now president, and pride has changed. Before it was more of an adult community that would come to our events, and now I'm seeing more kids. We tend to focus our festival as a family-friendly festival, which means we don't allow any adult kind of geared vendors at all. We don't have an adult area. We don't allow any lube or condom vendors or sponsors. We have a kids area. We have a dry area with no alcohol. We have an area specifically focused on health and wellness, which is in a dry area, and now this indigenous market that we've started for the first time for this year has made Pride so successful. It's changed. The community's changed, and I give credit to this generation for it. [Ranger Annie] Nice. You talked a little bit about indigenous market and stuff, but do you want to talk about being the first traditional indigenous president of Flagstaff Pride? [Zane Jacobs] Yeah. I'm actually the first local too. I'm from Flagstaff. Northern Arizona is my home. I was born in Tuba City, raised my whole life in Flagstaff, Arizona, came back to Arizona after college. I started out as a volunteer at Flagstaff Pride and then have seen these kind of waves of presidents and people come in. They're amazing people, but we have never had a local president speak from our community, be the president of our organization. This year, it was probably the first time that we've really given indigenous people a voice at our festival, and it is speaking volumes. This is the largest festival Flagstaff Pride has ever had, which makes us now the largest festival in Northern Arizona, which is amazing. This year, we had the first indigenous market, which we had 32 Indigenous queer-focused indigenous artists at the festival, which we let in, and it was so successful. I don't see us ever turning back or changing it now. It's good to see that indigenous people are actually having a voice and using it, and people are seeing it now. I'm fortunate just to be lucky to say that I'm indigenous and to be part of it. I knew it was going to happen. I knew there was going to be a first indigenous president, first local traditional president sometime. I didn't think it was going to be me, but it happened to me, and I'm really fortunate, and I'm really lucky to be able to be part of it. [Ranger Annie] You said you volunteered too. How long did it take to get to the position you're in now? [Zane Jacobs] 17 years. Off and on, I say 17 years. I started as a volunteer. I've been part of several different organizations, Jerry's Kids, American Cancer Society, most recently the Shadows Foundation in Flagstaff, I was on the board of directors of, and now Flagstaff Pride, I've always been a part of, but I started as a volunteer, worked my way up to the volunteer coordinator, and then soon after that became the vice president of Flagstaff Pride, and then I kind of just stayed in the back seat for Flagstaff Pride probably for a good 10 years, and then I stepped away for a little bit, and then came back and saw a need where our president emeritus, Deb Taylor, who is just phenomenal, she's changed Flagstaff Pride in so many ways and given us a foundation to do what I'm doing now, and I couldn't be more grateful for her. To become the first president, she was terming out, and they needed a president, and I accepted the position last September, so this is going on two years now. [Ranger Annie] Cool, nice, and so we've talked a lot about, you know, these pride festivals and everything, but what does pride mean to you? [Zane Jacobs] It means the celebration, being seen, being who your authentic self is. I wrote all these notes down, and I'm not even looking at them, but I think it's being who you are and having people see your authentic self, and when you're your authentic self, you can truly live, and I think that's what all humans should do. We should be living, and in Navajo, they say hozho, which is living in the hozho way, which is the beauty way, and being in sync with nature, with life, the universe, the land, you know, the animals, living in this spirit kind of way has always been my goal, I guess. It's what I seek. It's what I reach for, and I could never do that if I didn't think I was living my authentic self, so yeah. [Ranger Annie] Nice, I love that, yeah, and so you said you were born in Tuba City, live in Flagstaff. Why is the Grand Canyon important to you? [Zane Jacobs] So personally, I mean, I'm from Tuba City. If you, if we look over these trees right over here, my cheii, my shimasani is buried right over there. My ancestors are from this land. Me and my mom were talking on the drive here. This land has provided for our family, personally, for generations. We're from here. This dirt is in my blood. We still hold cattle over there, branding yearly. My uncles still hunt this land, you know. The Grand Canyon has always been part of who we are, and the Diné people, our ancestors are from this land. You can just look around over my shoulder here, like you cannot look there and not feel something internally and be like, wow, that's bigger than what we are. That's our ancestors. That's our people. That's our connection to the earth here, yeah. [Ranger Annie] So is this your first time coming to the Grand Canyon, like in the park section? [Zane Jacobs] So I grew up, like we were saying, we have a ranch right over there, actually. It's called Big Canyon Ranch. So I actually grew up taking trips and going chasing cattle, finding horses, run off the edge of the canyon. So we, I've grown up on this land. This is not my first time. This is my second time to the park, but growing up, I've been part of this canyon forever, so yeah. [Ranger Annie] Nice. So where do you see the intersection between your identity as a gay man and as a Diné man? [Zane Jacobs] So this one I'm definitely going to look at my notes for. So because I really wanted to make sure that I knew that I was hitting this point because I really, I think it's important because they are, okay, so I did say I find strength and purpose. My identity as a Diné man informs my activism in the community, and my experience as a gay man gives me a unique insight how to create more inclusive spaces in our culture. [Ranger Annie] This wasn't something we had talked about beforehand, but what, how do you kind of define activism like in this context? [Zane Jacobs] That's a hard one. So I feel like I am an activist by just being my authentic self, honestly. I mean, being who I am has put me into an activist position. Being indigenous today makes me an activist. Speaking up for our people and just putting a light on indigenous people makes me an activist. So just being who I am has already done that. I can tell you that I've gone to a million protests. I've helped create protests. I've walked them. I've been at the White House, speaking at the White House. I've been protesting the White House. I've done marches and, you know, I have done all of that, but I don't think that necessarily makes me the activist. Being my authentic self has made me an activist in this community. [Ranger Annie] Nice. [Zane Jacobs] Yeah. [Ranger Annie] Yeah. What, you know, gives you hope, especially in terms of like pride and everything kind of going on in the world? Yeah. What's your kind of like source of hope? [Zane Jacobs] I hope by being myself and being vocal and being seen gives that opportunity to these young people and these young leaders that they can do it too. I'm fortunate. I came from a very strong foundation. Thank you, mom. And I've come from this, you know, this accepting world where I didn't have to fight so hard, but as president, I've seen the coming out stories. I've taken in kids who have literally been kicked out of their houses for just coming out. I've helped parents take their trans kids to go see doctors, to talk to counselors, to introduce them to people who are part of this community. I've seen that struggle. I've had friends commit suicide because of it. I've had family commit suicide over it. I hope by being myself, my hope would be to have these other young people, parents, kids, family members, everybody, see that it's okay to be yourself. It does get better. As cheesy as that sounds nowadays, it does get better. And there's a space for you in this community and hopefully all communities. [Ranger Annie] So what would you tell your younger self if you had a chance? [Zane Jacobs] A lot. I think I wish I had this confidence that I had it back then. I mean, I came from a very supportive family. I keep saying it, but I don't think I've ever been as confident as I am now. I will walk into a sporting event in any way, in glitter, in sequins, in a mesh shirt, and feel super confident and not let anyone give me kind of a stare or I'm right there with them. You know? I wish I had this confidence that I did as a younger person. I like to play with gender roles. I will put some eyelashes on, some highlighter, and a full beat on my face. And go out. I've gone out in heels. I've gone out in corsets. I've played both roles, and I've never felt uncomfortable in my skin. And I wish I had that confidence back then. Yeah. [Ranger Annie] And so you've worked a lot with kids, like you were talking about. Do you have any advice for younger people who might be listening to this later…

    Full show notes at the publisher

    Ciara Minjarez and Shalitha Peaches Speaks - Native American Heritage Month Special Nov 01, 2024
    Show notes

    In this episode, Ciara and Shalitha sit down with Ranger Dawn to explore their inspiring journey of connecting indigenous communities to food sovereignty. Together, they share insights into how this work has deepened their understanding of stewardship, culture, and what it means to be "elders in training." ---TRANSCRIPT:--- Ciara and Salitha GRCA Speaks Episode 2 Season 2 [Ciara] So when we think about it, we have really still been eating like we're on rations. So now with the younger generation, we're starting to realize and acknowledge that, yeah, we need to make that change. We need to go back to our roots, the kind that you eat, you know, and really embrace it and start revitalizing that food as medicine, really. [Ranger Lizzy] Welcome, I'm Ranger Lizzy. [Ranger Melissa] And I'm Ranger Melissa. [Ranger Lizzy] We are so excited to share this episode with y'all. We sat down with Shalitha and Ciara from White Mountain Apache Tribe to talk about food sovereignty. I really love the way that they're decolonizing their relationship with food. [Ranger Melissa] Yeah, they're really doing amazing work. Listening to this episode, I love the way they refer to themselves as women of change because they're breaking the norms, like not just for themselves and their community, but for the global community and the next generation. [Ranger Lizzy] These women are truly amazing. So without further ado, Shalitha and Ciara. [Shalitha] Hi, everyone. My name is Salitha. I am coming from the White Mountain Apache Tribe. Also, just to kind of identify myself with the land. So I come from a, Ciara and I both come from a band [band name in Apache]. So this is the connection that we associate when we're introducing ourselves to the community or to another indigenous tribe. But basically, in our language, that it just basically means two hills that cut into each other. So on a reservation, it explains a certain location. So I work in four different job areas. One is actually my own personal one. It's a, I'm hoping to be a business, which is fostering young Apache gatherers. Elderlies in training is one of the one things that I really like to say. And it's basically working with youth and teaching them the Apache foodways within our reservation. Another one that I'm a part of is a non-profit in coordinating with people that want to come to our reservation and help local projects that are happening, especially with the agriculture area. And then also working at a tribal farm called Ndée Bikíyaa, the people's farm, as a farmer's market coordinator and marketing a lot of the produce that's growing at the farm. And what was my fourth one? There's another one. I just tend to like my mind right now. But yeah, so that's who I am and kind of where I come from. [Ciara] Awesome. Yes. Thank you, Shai. So hello, everyone. My name is Ciara Minjarez, and I come from the Fort Apache Indian Reservation. A lot of my background work is in our background work is in farming. We really try to get with our roots back into we say like it's we need to return back to our roots, the kind that you eat, you know. So when we talk about our work and in terms of food sovereignty and resiliency, we have a lot of programs that are dedicated to to working with those those food systems and really tweaking them to be self-sufficient so that we don't have to really rely on that many people. So for me, I work with Local First Arizona as the Indigenous Foodways Program Manager. And with through that job, they allow me to work with all the Indigenous tribes in southeastern Arizona, mainly farmers, ranchers, gardeners and growers, providing technical service, technical support and resources throughout our our entire nonprofit. I'm also a part of different community committees. One of them is called Chaghashe Bidan Siine, and that's the White Mountain Apache Child Food Security Program. And what we did was we tried to come up with out of the box ideas on how to get children fed on the reservation. So we can talk more about that later. But another one, that's how me and Shai really kind of got together and had a partnership with what she's doing and and coming out here and talking about teaching the kids and expanding their knowledge. Because like when COVID came, gosh, you know, we lost a lot of knowledge there. So it's up to us to keep keep it going. And then I'm also part of a nonprofit called Spring to Action, which we we like to, we're in the process of really becoming a physical sponsor. We want to be able to provide funds through our tribe without getting through the whole paperwork process. We want to make it easier to access that not just for our tribes, but for all tribes. And we started just building this alliance with our partner tribes. And it's just been a wonderful experience because, you know, there's one thing that we always all have in common, food. You know, we always all need food. So we're excited to talk to you guys today about food sovereignty. [Ranger Dawn] Yeah, I'm so excited. This is like so my jam too. So I kind of wanted to yeah, just get a background on y'all. What was your relationship to food and farming like growing up? Like, how did you get into this work? Like, where did that curiosity spark from? [Shalitha] Oh, my gosh. So for me, I was your average res kid running around in the summer, like by down by the river getting all tshie and everything. But when I say tshie, I mean, like all dry skin and very dark. So but for me, food has always been a connection I had, especially within the Grand Canyon area, we have so much similarities with food. And we were able to do some walks here and see some of the food that are familiar back home. And one of them was the sumac berries, and it's very sweet and tart. And we had a walk this morning, between 11 and one. And so we're able to do a share that taste testing. And so for me, I've always remember having that food and not really knowing the importance of it. And so it's always been something that I felt connected with, especially with a lot of the jobs that I have currently, and currently work with and network with. So there's, I feel like for me, food has always been a vast connection. I'm actually looking at being an ethnobotanist, which is basically the study of plants within a certain region. I mainly geared towards the White Mountain Apache region and highlighting what our Apache foods are and hopefully being able to share it with the world and networking with other indigenous tribes and trying to help them create that and decolonizing our way of food and revitalizing a lot of those teachings back into the indigenous communities. [Ciara] So awesome. I love that. Yeah. So for me, I had growing up on the reservation, you know, we're always, always looking forward to that time of the month, when they would give you different commodities, they gave you a box of commodities, they had all different types of food. And it wasn't until I got older, that I realized these foods are really high in preservatives. There's a reason why our people are dying from diet related diseases. And it's because of this, this food that we get so excited over, you know, there's this brick of cheese, we call Apache gold, you know, and it's commodity cheese. But it's, it was stuff like that, that I always used to identify, like even fry bread, you know, everybody loves fry bread, but they don't know the reason why it's that we started making fry bread, that is not an indigenous food, but it was more like a culinary creation out of what we were given. And they talk about buggy flour, and rancid lard. And that was kind of where we, that was kind of where I started my journey and looking into that. And when I started working at the farm, they were able to teach me like, did, did you know that this food that we used to eat, and then that food pyramid that they have that they're giving us now, it's not for our indigenous bodies. That's not how we used to eat, we never used to sit around all the time, we were always out getting our food. So when I started looking into different ways of like, even my body, myself, I had was like, diagnosed with prediabetes. And I started freaking out, like, why I try to like, you know, I've been eating the food that has we've all been eating. And then it made sense, because a lot of people I knew had it, my grandma had it and just going back to the farm and for them teaching me like, well, you know what, it's because it's traveling all these ways, and they're trying to make it last forever. And when they do that, it lasts forever, inside your belly, inside your gut, inside your your body. And so, yeah, there's a lot of food that we like to share when it comes to each other. So when we think about it, we have really still been eating like we're on rations. So now with the younger generation, we're starting to realize and acknowledge that, yeah, we need to make that change. We need to go back to our roots, the kind that you eat, you know, and, and really embrace it and start revitalizing that food as medicine, really. So that's where I kind of like built it was really when I came to the farm, and I met Shai and all the cool farmers from Ndée Bikíyaa. [Shalitha] And just to let you guys know, I've actually been doing this for about going on eight years. And a lot of the team teachings that I have currently and was able to share with Ciara and do demos with I have learned from my elders, I do not go to school for this. It's something that I was able to learn from my elders, but also learn in my language first, which is Apache, or also known as an Athabascan language. And so being able to walk in what seems like two or three worlds, because I have to know the plant's name in my language, and then also know the scientific name, and then also identify it in the common name. So for me, learning about foods is not just one world. It's also my people's world in a larger scale of other teachings. [Ranger Dawn] So yeah, I love how you give a lot of credit to your elders. And I like what you say, elders in training, like that's what you're trying to do to become to to teach the younger generation. I also know you wanted to talk about like women of change. So what does it mean for you as like women to be in this role of like elders in training? [Ciara] You want to start? [Shalitha] Oh, yeah. Okay. So we're one of the main things that we definitely want a lot of people to take away from this podcast is definitely, Ciara, Sometimes I view both of us as women of change, because a lot of the projects that we have came from a simple idea that we wanted to introduce to the community. And so for us women, we are women of change within our community. And we hope to network on a larger scale with other people, with other indigenous people within Indian territory, and then also within the world, you know, because a lot of people, I feel like don't really know indigenous people or their history. And so and I hope to share that in a way that educates people and understands that we're all the same, regardless. If one of us gets cut, it's going to bleed red. So knowing that we're all equal, we're all the same, but we're also women are people that are very rooted in our beliefs, especially with women, I feel like women, usually the men are the ones who are the head of the house. At the end of the day, I feel like it's the women who runs the household because they have to make sure all the dishes is washed, make sure supper is on at the time at the same time, make sure the kids are all good to go. And so the man is just a moral support. [giggles] So but that, but then again, they're the protector of the home. So it's a yin and yang dance for me. [Ciara] Yeah. And so like, for us, when we say women of change, I feel like we're the ones who are breaking those change, changing those norms. I know I like to use the reference, well, you know, now we have WiFi in our wiki ups, you know, and it's something new. We're embracing that technology, especially when it comes to really fighting the norms of what it used to be. And like I said, we're used to having rations, we're used to relying on the government. And that's where we come in, because we don't want to be like that no more. We want to be able to take care of ourselves. We want to be able to grow our food the way we want to healthy. We want to be able to go out there and find our medicine because now we can. When I look back at our reservation, there's so many things that need to change, really need to change. And I feel like in order for us to make an impact, we have to be the ones to put together these events. We have to be the ones to learn about them and make these connections because it's not really for us. It was never really for us. And I was telling Shai this too, that when we were coming here, we're saying, how can we make this better, the earth better? How can we make sure there's food better? Not just for us, not for our kids, but for their kids. Make sure this place is still there for them. Make sure they're able to just be healthy, you know, and live long lives. And I want to be able to see that day, you know, where we can all get along, we can all be healthy together, we can share things. And when I say this, I see it. I see it. And that's when I say we are women of change, because a lot of people recognize tribes as we always fight. They always fought with each other. They just always just, they're territorial. But now we say, no, we don't fight no more. We're trying to unite. We're trying to learn from each other and heal with each other. We've all have this connection. Like even when we talk to different people, we can joke around and it feels good. It feels normal. And there's trust. Yeah, it feels like trust. Yeah, there's that trust there. So that's where we said, we see it and we can feel it. You know, that's the change. And we're the women that help try and bring that, you know, to the, not just our community, but to all the tribal communities, to even the surrounding communities. Because like Shai said, we're all one person. We all deserve to eat and live together in peace, you know. [Ranger Dawn] Yeah, we were chatting on the phone like earlier in the week. I loved how you're talking about like collaboration between the tribes and how that meant a lot to you. And I also appreciate how much you value education and like teaching younger people. Did you want to talk about like the programs with, where you're at when you're teaching younger people these things? [Ciara] Yeah. All right. So yeah, one of the things we did back on our tribe in the White Mountains, and that's Fort Apache Indian Reservation, we were out there, we were able to, well, it all started off with a simple survey. We asked the tribe, what do you want when it comes to your food systems? How can we support you? And unanimously, hands down, everyone said, we're tired of seeing our kids hungry. You know, we don't want any of the kids to be hungry. And it wasn't just our reservation. It was Hualapai. It was Hopi. It was CRIT. You know, it was all of these different tribal nations. And so we came together and with our tribe and we had to ask ourselves, how can we get these kids fed? How can we get them sustenance when they don't have a ride? They don't have money, you know, and they just are miles away from the nearest food source. And…

    Full show notes at the publisher

    Zuni Royalty Speaks Nov 01, 2024
    Show notes

    In this episode, 2023-2024 Zuni Royalty, Keia Gasper and Jaynie Lalio, walk us through their experience as representatives of the Zuni community and how it has shaped their character. They also shared some of their aspirations, traditional practices and beliefs that empower their connections with Zuni culture and the Grand Canyon. ---TRANSCRIPT:--- Keia Gasper: It just makes me happy seeing the younger generation get involved with culture and religious activities and wanting to know about who they are and where they come from and it's just very important for our culture. Lakin: Welcome back everyone, my name is Lakin and I'm an intern at the Grand Canyon National Park. Ranger Melissa: And this is Ranger Melissa. Lakin: It's always inspiring to see youth from the Zuni Pueblo, where I'm from, grow into leaders and take action for our community. Ranger Melissa: Yeah, what's cool is this episode is with Zuni royalty who served in 2023 and 2024. Lakin: So both Keia Gasper and Jaynie Lalio walked us through their experiences and how they become role models for the Zuni people. Ranger Melissa: Yeah, it's really inspiring to hear from them and hear about, you know, what are their aspirations, how they're connected to the Zuni history and culture, as well as maybe even learning some cool delicious recipes. Lakin: Yeah, so sit back, relax, and without further ado, here is Keia and Jaynie. Keia Gasper: Keshi, ko' don sunhapk'yanapkya. Ho' Keia Gasper le'shinna. Hom annodi:we Ana:kwe deyan Yaddokya:kwe a:wan cha'le. Ho' asdemłan ha'ilekk'ya yałdo debikwayik'ya. Hom a:łashinna a:chi Ronda Johnson dap Antonio Gasper le'shinna. Lukkya debikwayinan ho' 2023-2024 Miss Zuni. . Keia Gasper: Hi, good afternoon, my name is Keia Gasper. My parents' names are Ronda Johnson and Antonio Gasper. I am 18 years old. My clients are Tobacco and Child of the Sun, and this year I am the 2023-2024 Miss Zuni. Jaynie Lalio: Keshi, ko' don sunhapk'yanapkya. Ho' Jaynie Lalio le'shinna. Ho' asdemłan dobalekk'ya yałdo debikwayik'ya. Hom annodi: Donashi:kwe deyan Dowa:kwe a:wan cha'le. Hom a:łashinna a:chi Erica dap Jason Lalio Jr. Lukkya debikwayinan, ho' don a:wan 2023-2024 Junior Miss Zuni. . Jaynie Lalio: Hello, good evening, everyone. My name is Jaynie Lalio. I am 16 years old. My clients are Badger and Child of the Corn. My parents are Erica and Jason Lalio Jr. I am the 2023-2024 Junior Miss Zuni. Ranger Kelli: Thank you, thank you. A lot of times people who come from all over the world here at Grand Canyon, they want to know, like, where's Zuni? So, like, can you explain to our audience, like, where is Zuni? . Keia Gasper: Well, Zuni is a small Pueblo, three miles out, and wait, oh my gosh, three hours out, and we come from the Grand Canyon, and we had to find the middle place, and so we went to our people, our elders, went down to find the middle place, which is Zuni. Ranger Kelli: Yeah, and it's interesting because, you know, I think, like, we have these 11 tribes coming in from all different locations here at Grand Canyon, and then Grand Canyon is now a national park, and it just kind of created this, like, borderline for tribal communities in a way that people are always, like, amazed, like, how far Zuni is, and then they're like, how does this, how far Zuni is, and then they're like, how does it connect to the Grand Canyon, right, and I think this is important to kind of, like, talk about because, like, what you just said, it's a place of kind of, like, an emergence, right, and then as well, it's just, like, a very sacred connection, but also for Native communities, we kind of, like, it's just not, like, okay, Zuni is here, and then the canyon's here, and then that's it, like, we are connected in a whole, we connect this whole region, and it's just not the canyon and then Zuni, but also the water, you know, and I understand that with Zuni, the Colorado River and the Little Colorado River, that is a connection as well to Zuni, but I just want to let you all know, like, how, where Zuni is at, and if you all, like, have questions, we can definitely ask at the end, but my other question is, like, what is Zuni royalty? What does that mean? Do you all want to answer that? Jaynie Lalio: So Zuni royalty, it's from an organization where they wanted someone to be able to represent the Zuni people and the community, so it's giving us a chance to represent on a different type of level, you could say. Ranger Kelli: Do you want to answer that? Keia Gasper: Yeah, it's, like, you're putting yourself out there, and you're getting to want your people to be known, and where you come from, and it's just very important for our culture, because we want to keep our, what we have, keep it going, and we don't want to lose it, because we see other tribes, like, they're beginning to lose what they have, and we're going strong with what we have, and it just makes me happy seeing the younger generation get involved with culture and religious activities, and just getting involved, wanting to know about who they are and where they come from, and it's just, Zuni is a beautiful, beautiful place. I'm proud to be Zuni, and it makes me happy. . Ranger Kelli: Yeah, and, you know, what you both just said really speaks to, you know, I think that's important for people to hear, is that you are ambassadors in your community, but not just ambassadors for your community, but also for the next generation, right, and then you are leading a role not only for the younger generation in your community, but also keeping that culture going, and as a young woman, I see that you are dressed in your traditional attire, and is that something that you, when you're wearing the crown and representing your community, is that how you kind of, like, represent yourself when you go out into other communities and wearing that attire, and if you want to explain, like, your dress and the significance of that, you're more than welcome to, if you want to. Keia Gasper: Oh yeah, our ancestors, they dressed like this back then, and we're just carrying on their tradition and making it known, like, where we come, like, what we have is something different than anybody else. I don't know, I've never seen anybody dressed like this or or have what we have, so it makes me happy knowing that we have a unique culture and with everything we have. Ranger Kelli: I think I find it, like, really amazing today, so our royalty, for y'all who weren't here at the park earlier today, they're actually, we have four royalties here until Saturday, and they're doing demonstration from nine to four at the Watchtower, and so our two members here are, have been here all day at the tower talking about the role, but also talking about the generational knowledge of their community, and a lot of people have been, like, asking the young girls, like, are you selling your jewelry? Are you selling these different attires? But really, they're just wanting to dress how, like you said, your ancestors have been dressing, and I think that's beautiful to know that we're walking in our ancestors' shoes, basically, and we're, they're behind us, you know, and they're behind you right now, and you're wearing that crown, and just kind of representing that and carrying that knowledge, so I think that's really beautiful to express that to the public, and because, like, you're a royalty now, I want to know, like, how did you become, like, Miss Zuni or Junior Miss Zuni? So what are, what are some of the things that you had to do for competition to become royalty? Jaynie Lalio: So we had a pageant-based, like, competition. We were judged off of a traditional talent, traditional food, public speaking, close interviews, and then there was also a best essay and most photogenic awards. . Ranger Kelli: Was that all done in one day? . Jaynie Lalio: Two days, yeah. Keia Gasper: Yeah, like a week. We were all put together, and all the contestants and everybody, we just got to know each other, and we did the pageant and everything, but this year we ran against ourselves, so we had no contestants for our age, so we got the title, but we still had to go through the whole pageant and everything, and with going back to the getting your crown and the sash, it's, you get, you get, they make a crown for you, especially, because every crown gets made for every year, so there's always different crowns that come in and sashes and everything like that, so what you get during your reign or in the beginning of the reign, your crown and your sash is yours to keep, like, for life, so going, so if you, like, look back or go forward in the future, you can look back and see what you've done. Ranger Kelli: That's really cool to keep the crown. Jaynie Lalio: And can I add that the crown is also basically alive. It's your sister. We call it our sister because it chooses you. Yeah, it just, . Keia Gasper: whatever, like, whatever you're feeling, your crown can feel it, and, like, if you're tired and she's tired, she'll make you more tired. It's, it's crazy. It's just, yeah, like, you can't, like, feel her. You can't know when she's talking to you and stuff, and you just gotta, when you put her on, you just gotta tell her, like, come on, let's go. We got this, and she'll motivate you into doing better for yourself for that day and just keeping it going, you know. Ranger Kelli: I think that's amazing. Also, what inspired you both to compete? You know, I know, like, right now, you said that you, you already were competing for the crown and without any other competition, but what inspired you from the beginning before wearing the crown, any crown? What made you want to compete to become a royalty? Jaynie Lalio: For me, what inspired me was I had the role of Zuni Princess before, and I thought that if, that was when I was young. I didn't know what to expect, so going into this year, I was influenced by the people around me saying, you should run another year. You can learn more, so that's what I decided to do, and I never thought that I would have ran by myself, so it was kind of unexpected, but it's been a pretty great experience. I'm glad for those people that inspired me, just, like, friends, family, so yeah. Keia Gasper: Sorry, can we go back to the question? Ranger Kelli: Yeah, and I just asked, like, you know, before you became royalty, what inspired you to want to compete and wanting to become a royalty or a title holder? Keia Gasper: Okay, well, first of all, I, this is, this is not me, like, I, how would I put this into words? I didn't see myself in this position because I didn't think I was strong enough or I was good enough to be a good influencer for my people, and I just thought, I was like, people kept coming to me, and I kept hiding, and they kept coming to my house asking me if I'm running or if I'm gonna run for the position, and I was like, uh, I don't know, and then they pushed me into running for it, and I, I finally said, okay, I'm gonna do it, and I was, I was so nervous because I thought I was gonna have other people, um, like, running for the position, and I was like, I'm not gonna get it, I'm not gonna get it, and then here, once the deadline for the applications were over, and then here, uh, we looked on the royalty page, I looked on the royalty page, and then, actually, we were at volleyball practice, and then we looked at the volleyball page, and it was just only both of our names on it, and they were like, oh, my gosh, what did, what did we get ourselves into, but overall, it's been a great experience. It's, um, it makes me happy going places, seeing, seeing new people, and make good connections, and meeting new Crown sisters, or sash sisters, like, from other places, uh, like, Miss NTU, I'm really close with her, and Miss Indian New Mexico, I'm really close with those two, so I grew attached to them, and they're, like, my big sisters, they watch over me, and yeah, and just, and going back, going back, like, um, in 2009, I was also Crown baby princess, and I was a little baby, little baby, so I didn't know, and then here, look, look at me, I'm Miss Zuni, that's crazy. Jaynie Lalio: Also, hold on, sorry, excuse me, no, go, funny part, we ran against each other, what's the title, princess? Keia Gasper: Oh, yeah, then I lost that round, too, sorry, I bet, Ranger Kelli: but you're both crazy, and then you said, too, like, you enjoy, um, traveling all over the place, you know, meeting new people, is this your first time coming to Grand Canyon? Keia Gasper: Uh, yes, this is my first time coming to Grand Canyon. When I was leaving Zuni, like, it just, I was so nervous coming here, because knowing that our ancestors are here, and they're watching over us, and just makes me happy knowing that finally get to, like, feel their presence, knowing that they made it safe, safely there, and, oh, wait, sorry, overall, overall, this is a beautiful place, like, I'm so glad, like, our Zuni people came, like, out of this Grand Canyon, like, this is, that thing back there looks like a picture, like, it looks so unreal, but it makes me happy knowing that we have something like this within our history. Jaynie Lalio: Yeah, this is also my first time coming here, I would say, it's been a wonderful day, just being able to go up to the watchtower, seeing the top, we were standing there, taking a picture, and I just looked and said, this doesn't look real, it looks like a green screen, it's, the beauty here, it's, it's something else, nothing can compare to it, honestly, being able to reconnect with nature on a different, different type of level feels like, like, getting, getting that clarity, to me, that's what it felt like, like, it just, whatever you see, the stresses, it's all gone. Ranger Kelli: Yeah, and this is amazing to hear, also, like, heartfelt, as well, what you both said, because part of this program, and this Grand Canyon Speaks, a lot of our tribal members haven't come and visit Grand Canyon, even though it's an ancestral home from our 11 associated tribes, and I, being as a native ranger here, and hearing you both speak here, or even seeing your family here, and seeing the younger ones just enjoying the canyon, and this is their first time, as well, and I think that's important, that your voice is being heard here, you know, it's, your canyon hears you, and it feels you, your presence is here, is really amazing, and the whole program of this is to have your voices heard back in the space again, and when it became a national park, a lot of the native communities were forcibly removed out of this place that is home, and I think that's a very important thing to talk about. Ranger Kelli: I know it's hard to hear, even being, as a native person, but it's now time for healing. It's also time to show your representation out here, and seeing your beautiful regalia, hearing the beautiful songs out here, it's really inspiring. Also, for the next community member who is a young adult, is gonna be inspired to want to sing here too, and to dance here as well, and set their foot here, and they want to come back again next year. Ranger Kelli: I hope you all come back again next year, and then now your royalty, like, what are your future goals now? Like, you know, do you want to do another pageant, or, you know, school? I know you're all young,…

    Full show notes at the publisher

    Season Two Trailer Oct 23, 2024
    Show notes

    Welcome to season two of Grand Canyon Speaks! We are airing live interviews that park rangers conducted with artists and representatives from the 11 associated tribes of Grand Canyon National Park. This series explores the lives and perspectives of people who call Grand Canyon home. Sit back and enjoy!

    ---

    TRANSCRIPT:

    ---

    (0:02) I feel like every day begins with land acknowledgement; you know. (0:05) I mean, you're encouraged to rise up every day when the sun comes up to greet the sun. (0:11) We need to go back to our roots, the kind that you eat, you know, and really embrace (0:16) it and start revitalizing that food as medicine. (0:21) All kind of indigenous people accepted the term as two-spirit, but our culture has lived with this since the beginning of time. (0:32) Welcome to season two of Grand Canyon Speaks, where we interview members of the 11 associated tribes who call the Grand Canyon home. This online podcast series brings our in-the-park programming right to your ears and into your homes. This season, we're excited to introduce more stories, more voices, and more lived experiences. Stay tuned. (0:52) You know, when I'm weaving, it's like I'm communicating with my ancestors. (1:00) We come down here to get inspiration, to get the power to take back home. (1:08) We have a strong connection to the Grand Canyon, and Grand Canyon is very important to our (1:15) soul. (1:17) It's important to love who you are. (1:20) There's no one like you. (1:21) You're unique, special, just love yourself.


    Gerald Dawavendewa Speaks Nov 03, 2023
    Show notes

    In this episode, we talk to the Hopi painter Gerald Dewavendewa. Gerald is a lifelong artist. In this episode, we discuss his beginnings of art on the Hopi reservation, some Hopi traditions and customs, and the cultural influence behind his work. ---TRANSCRIPT:--- Gerald Dawavendewa: As a Hopi, you're taught that being an individual is one of the last things you are. You're a member of your family. You're a member of your clan. You represent your clan. You represent your community; you represent the religious societies you belong to. You represent your village, and you represent the Hopi as a whole. And then you are an individual. Ranger Melissa: Hello and welcome! My name is Ranger Melissa. Ranger Jonah: And my name is Ranger Jonah. Ranger Melissa: Hey, Jonah. Who did we interview in this episode? Ranger Jonah: Yeah. We talked to Gerald Dawavendewa. He is a Hopi painter and a really nice guy. It was a ton of fun to talk to him. Ranger Melissa: Yeah, I love talking with Gerald and hearing about how he uses his experiences as a Hopi astronomer in his artwork. Ranger Melissa: Absolutely. He was just so knowledgeable, and it was really great listening to him dive into the meaning and the culture behind his work. Turns out a lot of his work is also at the Hopi house. So, if you're in the park, check out his work at the Hopi house. So, without further ado, Gerald. Gerald Dawavendewa: Umhinsaki! My name is Gerald Dawavendewa. My Hopi name is Lomasohu. So, we actually have two names. As a side note, originally in Hopi culture, you only have one name, and then your family is part of a clan, and currently, there are probably a little over 30 different clans, and I'm a member of the Sun Clan, and then your name is usually associated with that clan. So, my Hopi name, Lomasohu, refers to a star in the constellation in the sky. Dawavendewa is translated as rainbow or halo around the sun. So, there's that association there. There are also other clans the bear, the corn, parrot, badger, and various other clans. And each one has their own history and story. The Hopis we live, what, about 60, 70 miles? Which direction? About that way. The Grand Canyon is a very large part of our history. This is the symbolic emergence of the Hopi people into this world. The Hopi believed that there are three previous worlds. The third world became corrupted, and we wanted to find a way from that world. And so, this is the symbolic entry point. There's a site in the Grand Canyon at the bottom of the Grand Canyon called the Sipapu, which is the emergence place. Gerald Dawavendewa: And so, the Hopi came through that into this world that we called Túwaqachi. And then each group separated and went into the four directions in order to explore this world and see what was here and what it had to offer. So, each clan has their own stories that differ from others. So as a Hopi person, I don't speak for all the Hopis or have the authority to say that what I say is the defining history of Hopi. So, you'll often find other Hopis that will have other stories or other interpretations, and that stems from their own unique journeys that they took. So, like the sun clan, we traveled with other clans south. And in our migration stories, we traveled all the way down to the end of South America until we reached a large wall of ice, and then we turned back and then came back up this way and eventually came to where we are now, where we see as the Hopi center of the universe. So, all our stories are related to the areas now that we know of as Mexico and the Incas and all these other groups and places, whereas other groups had settled towards the Pacific and others towards what now is Canada and other towards as far as the Mississippi River. Gerald Dawavendewa: Each clan, when they reached a large body of water, would turn left and then return back. So that's sort of the origin of how we're connected to this site. And we still have pilgrimages yearly from various Hopis who belong to different religious societies who come here to gather among the sacred sites and areas here within the Grand Canyon. Ranger Jonah:So, Gerald, you are not only a Hopi tribal member, but you're also a painter that takes a lot of inspiration from the Hopi people and the Hopi culture. Now, I understand you grew up in the Hopi Reservation and I was wondering if you could talk a little bit about what it was like to grow up there and then also if you had some early inspirations, what inspired you to become a painter, to do what you do today. Gerald Dawavendewa:I grew up in the Hopi village of Mùnqapi, which is associated with Third Mesa. There are three mesas at Hopi. First, Second and Third, which are sort of low, flat-topped mountains and the majority of the villages are built on top of these mesas. My village, Mùnqapi, is not physically on Third Mesa, but there is a village on Third Mesa called Oraibi, which today is considered the oldest continuously inhabited town in the Americas. And so, they found it Mùnqapi. So we owe our allegiance to Oraibi. And so that's where I grew up at. This was at a point where we didn't have electricity, plumbing or any of those modern conveniences TV and things like that. So, it was very much a very isolated area for us. It's a small village. At the time there were probably about less than 600 people who lived at Mùnqapi. It was sort of a transitional point where as I grew up, my grandmother's house was the first house to get electricity. So, I say it's my grandmother's house because Hopi is a matrilineal society, which means in Hopi, all the material wealth, the houses, all the items inside the house, vehicles, now the fields, they all belong to the women and the women take care of them. Gerald Dawavendewa:So, for the men, we are in charge of the religious societies and making sure that the ceremonies are performed correctly throughout the year. And so, when a woman marries a man, in which she proposes not the man, she will have a special bread called piki, and she will make that and present it on a Hopi tray. And if he accepts that tray of piki bread, then he has accepted her proposal in marriage. The wedding ceremony takes some time to do it's usually tied in with the ceremony year, but at the end the husband will move to her village and build her a house. And so, she's in charge of that, and she takes care of that as well as make sure the fields are cared for as well. As Hopi men and family members, we ask permission from the head of the household to be allowed to grow the corn and crops in the field. And so, when we grow the corns and crop, we own the plants, or we are responsible for the plants when they are grown. So, who do you think owns it when it's harvested? The women own the plants when they're harvested and they can do whatever they want with it, but often they'll keep it and make sure that the family... So, in Hopi, not necessarily status, but the success of a home is the ability to feed the family. Gerald Dawavendewa:And in fact, my grandmother was very proud of the fact that if anyone came by, even to ask for directions, she would insist that they sat down and ate first, and then after they finished eating, then she would ask, "why did you come here?" And so, she was very proud of the fact that no matter who came by, she was able to feed them. And that was something that she was very proud of. And so, I grew up in that area, and to me, as an artist, there's not a real profession out there in Hopi. Nobody says, oh, that's the artist of the village, or he's the best artist. I grew up with art. Everyone did art. My grandmother made baskets. My grandfather made crafts and arts that were related to the religious societies because they require certain items and objects for these ceremonies. I had other uncles and cousins who carved Katsina dolls and other family women who made pottery. And so, I grew up not knowing anybody who did not know how to do some sort of craft. So, it wasn't unusual, and it didn't seem out of place. And so, I was inspired by a lot of people there. Gerald Dawavendewa: And in Hopi, people don't tell you, oh, you need to know how to carve, or you need to know how to draw. If you have an interest in it and they see that you have an interest, they may say, oh, here, try this carving. Here, I'll give you a piece of wood and why don't you whittle on it and see if you like that. If that's something you like or something else. So, there's never that insistence that, oh, you're going to be this and sort of try to fit you to that mold. And so, it was something I grew up with, and it was something that I enjoyed because it was a way for me to express myself in Hopi by capturing a lot of the day-to-day things. And apparently, I spent too much time on it. Ranger Jonah: It happens to the best of us. Gerald Dawavendewa: I actually ended up flunking first grade. I had to take it over twice, and my report card said: he's a very bright and promising student, but all he does is draw, and we feel that he could spend another additional year at this level. So, I ended up having to take first grade twice. Gerald Dawavendewa: So, that sort of started my career. So, I've been sort of drawing all my life. And of course, my first inspirations were my grandmother and my grandfather. Watching them make things and later on being introduced to a lot of things from my aunts and uncles. And then, of course, as I traveled around the village because there are ceremonies that we do that are taken to other villages. So I get to meet other Hopis in other homes, and of course, you meet other artists. And I was fortunate in, I guess, the history of Hopi in that we were at a transitional point because my grandfather and his father in Hopi, the majority of the art was done for religious reasons. It was not made for sale. It was not made as fine art. It was made because it needed to be made for the ceremonies. Even my grandmother's baskets, those were baskets that had practical uses. There were sifter baskets. There were baskets used to carry items. There were baskets to give away as a custom. And so, everything made had a purpose and a reason that fit within Hopi culture. So, there was no such thing as I'm expressing myself or I really want to talk about my angst through this painting. Gerald Dawavendewa: It was basically part of my father's generation and then, of course, my generation that you begin to have artists. You did have some who were famous in the past, like Nampeyo, who was a very famous potter, but her art was the pots she made. The majority were used for mixing bowls, for cooking bowls. And of course, the early tourists, especially from here, you had the Fred Harvey Company who would send out tourists to Hopi, and they discovered the pottery, and they wanted and Nampeyo became very famous. And one of the side notes for that was Nampeyo noticed that people paid more for her pots because she was touted as the famous Hopi potter. And so, she encouraged other Hopi women to bring their pots, and she would sign them because she wanted them to have... She wasn't trying to cheat people. But in Hopi, you want to be part of the community. You want to help the community rise together. And so, she signed their pottery so they could get just as much money that hers got. So, there are a lot of pots out there that she never made, but they have her name on it. Gerald Dawavendewa: And she's actually one of the earlier Hopis that signed her work because back then, nobody signed their work. You made an item and it kind of just rotated into the culture. There are these wicker plaques that were given to the young girls during a ceremony called Powamuya. And the girls kind of used it almost like a currency exchange. As they got older, if somebody did a good deed for them or helped them out or something, they would give that basket to that person, to that Hopi person, and then down the line, that person might eventually give it to somebody else. And so, it wasn't unusual that one of my nieces would get a basket and, of course, she would give it out maybe a year later. And then five or six years later it shows up again because somebody did a nice thing and oh, I remember that basket. That used to be your basket when you were little. But that's what started it. You begin having these Hopis like Fred Kabotie who did the murals in the watchtower, you had people saying, oh, you need to sign your name. It needs to be identified. And so that didn't occur until the 50s or 60s and then that's when you begin seeing Hopis who were taught silversmithing after World War II as an occupation. Gerald Dawavendewa: Some of them started signing, not all of them, but some of them begin signing their names. And so that began what we would, I guess, consider fine art or art for art's sake in a sense. But it still was grounded in traditional designs. Everything was very in that design. And that's what I grew up being inspired by. And then of course, later on for me, finally, there was a young group of men who, they're much older than me now, but called Artists Hopi. And they decided to really explore or push the boundaries of what Hopi art could do. So, they went through cubism and abstraction and all these other types of art forms that didn't exist in Hopi and even tried political artwork and other things. But it would all have to do with Hopi. And they inspired me because their work was so different from everything else. And so that kind of led me to feel that this was something that I could do. And so, after I graduated from high school, I eventually went to the University of Arizona in Tucson. Ranger Jonah: So, it worked out after first grade. It's all easier from there! (Laughter) Gerald Dawavendewa: I was basically like: I'll show you now! So, I got a degree in what was a major in graphic design and fine art. But I eventually started working in the museum field, using my graphic design. For me, the high point was I helped with graphics and did Hopi consultation for the Hopi section of an exhibit called The Paths of Life, which was a 10,000 square foot exhibit. And I invited my grandfather to come down to look at what I had done. And so, after he had seen everything, he turned to me and told me, in Hopi, "this is something worth doing." So, in Hopi culture, you don't hear a lot of praise, a lot of stuff you do, you're expected to do it. And so, to have my grandfather tell me that it was something worth doing was just the greatest compliment I could ever receive. I don't think I touched the ground for a week or so from that. And that sort of continued leading my visions. One of the challenges or one of the things that I've, I guess in a sense, placed upon myself is as a Hopi, you're taught that being an individual is one of the last things you are. Gerald Dawavendewa: You're a member of your family, you're a member of your clan. You represent your clan, you represent your community, you represent the religious societies you belong to. You represent your village, and you represent the Hopi as a whole. And then you are an individual. And so that's the last thing. You're always taught to think about what you are doing. How does that reflect on everything else? And so, I continue to do that now in my artwork. When I do my artwork, I always am reminded about how other Hopis or how my community is going to feel about this. How are other people going to feel about the reflection of what I am showing of Hopi to them. For the most part, I do not do individual personal artwork. I'm not going to talk about maybe something that happened in my personal life or that may b…

    Full show notes at the publisher

    Noreen Simplicio Speaks Nov 03, 2023
    Show notes

    In this episode, we talk to the traditional Zuni potter Noreen Simplicio. A strong advocate for youth empowerment, Noreen discusses the Zuni connection to Grand Canyon, her story of learning traditional pottery, and the value of respecting the landscape. ---TRANSCRIPT:--- Noreen Simplicio: It's all going to get taken away. Well, that hasn't happened. I'm still creating. So, Grandma, I'm sorry, but I think you were wrong at that. Ranger Jonah: Hello, and welcome to Grand Canyon Speaks. My name is Ranger Jonah. Ranger Melissa: And I'm Ranger Melissa. Ranger Jonah: So, Melissa, could you tell us a little bit about this episode? Ranger Melissa: Yeah. Our coworker Kelly interviewed Noreen Simplicio, who's a Zuni potter, on a very, very windy evening. What's great about Noreen's time with us here at the Canyon was seeing her love of sharing her pottery process with others, and especially the youth. Ranger Jonah: Yeah. You know what, I would have never realized the role of manure in pottery without this interview. Ranger Melissa: Yeah. Hopefully everyone will also learn that and enjoy this recording. So, without further ado, Noreen. Noreen Simplicio: First of all, before I introduce myself, I wanted to thank the National Park Service, Kelli and Dan, for continuing the demonstration program, because the last time I was here was back in April of 2016. So that was the last time I was here. But so happy to be back here. And I'll talk more about that, but yes. My name is Noreen Simplicio. I'm from Zuni Pueblo. I've been a potter for about 40 years. And this place is very special to us, our tribe, and along with the other eleven affiliated tribes. Zuni history tells us that there's a place here, north from here, called Ribbon Falls. The way you say it in Zuni is Chimik'yana'kya Deya' is a place of emergence. Yeah. Very beautiful place. And that's why this place is very special to us, because this is the place where our ancestors emerged from the fourth underworld. So, I myself never really knew where we came from or why we settled in Zuni. But once we came out from this area, our people, well, there was a purpose for us coming out from the fourth underworld. Our purpose was Father Sun wanted somebody to be doing the offerings, a prayer stick, food, and just prayers, the offerings to give the people blessings. Noreen Simplicio: So that's why we came out from the Earth. And once our people came out from the Earth, they went looking for the Zuni, which is now called the Middle Place. So, they made their journey towards the Zuni area. And of course, that story is pretty true, because along the area, coming here or going that way to Zuni, there's places of settlement that our people settled in. So the way they found the Middle Place was they used a water strider. The water strider spread out its legs, and it touched all the oceans in the world. And once it stood there like this, the middle of his heart is where the Middle place is. Now in Zuni. So, when I was growing up, I would ask Grandma, like, why are we here? Why did we settle here? And that's the story behind it. And I didn't know this until sometime between maybe 2017, when I was asked to work at a substance abuse program. I worked at a recovery program to teach the recoveries. I guess through my clay and through the work that I do it was therapy for the recovering people. So, once we worked with them about teaching about the Zuni culture, language, prayers, whatever, anything and everything about Zuni. We taught for, like, six weeks. Then we did a journey to Ribbon Falls, actually hiking down Bright Angel Trail and North Kaibab Trail. Like actually walking to this Ribbon Falls place. So, I had an opportunity to do it twice, and I'm glad I did. And I survived. Yes. Ranger Kelli: Do you want to tell everybody where Zuni is and how far it is from here? Noreen Simplicio: Okay, if any of you know where Gallup, New Mexico is, anybody know where Gallup, New Mexico is? Okay. We're like, what southwest? Like 40 miles southwest of there. So, we live on a reservation. I don't quite know how big our reservation is. Maybe 10,000, maybe more. But that's where I'm from, and that's where actually I learned my craft. I wish I could say a grandma taught me or a grandpa taught my work, what I do now. But I've been a potter for 40 years, and I learned at the high school, but I didn't learn from a Zuni person. I learned from another pueblo, an Acoma person, that was my instructor. So, I took the classes in high school, and from there I just kind of developed and perfected my techniques as I went through my years. But I consider myself a traditional contemporary potter. I use traditional techniques. Contemporary techniques. It wasn't until this past July there was another Hopi person, Bobby Silas, that was teaching a traditional class at our college in Zuni. So, I said, well, I need to take this class, because what he was going to teach was the old techniques. Noreen Simplicio: So, I took the class, and when I first showed up in the classroom, everybody was like, what are you doing here? You're already a master. And then I said, well, I need to learn. It's always good to learn other people's way of teaching and learning different techniques. So, one of the requirements...I mastered everything. I mastered the building; I mastered the designing. The hardest thing for me was using yucca, the plant. Because that's what our ancestors used a long time ago. They use yucca brushes to paint their pots. That's why I brought this pot with me, because this is my first pot that has been done the old, old, styled way. So, I struggled a lot using the yucca, but I managed to master it. Ranger Kelli: How long did it take you to do that? Noreen Simplicio: It took a while because it took me a long time to actually get the feel, the feel of the yucca, because for like 35, 40 years, I've always been using paintbrushes, never yucca, because I could never do it when I was younger. So, it was my destiny. It was my like; I need to perfect this. So, I did. That's why I brought this pot with me. Ranger Kelli: That's beautiful. And I know there are so many people who are coming today to your table, and they wanted to know what different of your pieces represent, especially the frogs. Oh, my gosh. The kids love your work. And were drawn to your frog pottery. Noreen Simplicio: Yeah. And I brought one with me. After the session is over, you can come take a look. But everything, all the pigments that I use, I go up in the mountains and dig my own clays. Well, I actually don't do the digging. I have my boyfriend, and I bring a lot of men with me because the place where I dig the clays is pretty rugged. You have to go down in the bottom of the mountain there and dig it and then hike it back up. So, it's a workout. So, they help me collect my clays, but they're natural pigments. One of the things that was taught to me by my instructor was always respect the Earth, because the clay is very valuable. And before I actually start digging, there's always prayer involved. There's always offerings of cornmeal and food before you actually start digging. And you're digging when the clay comes out, plentiful because you literally have to dig to get to the clay. So, it's coming out plentiful and then after a while, it kind of stops coming out. That kind of tells you that's all you can have for now. Noreen Simplicio: When I teach, like youth or children, whatever, I try to instill this in them, that the clay is very valuable, and if you treat it right and if you create from your heart; [Zuni phrase] I would say in Zuni. If you create from your heart, you'll develop or create beautiful things. So that's one of the important things that I like to talk about, especially to the young people, that when I teach, we have to respect the Earth, the clays and each other. This is what I share with the youth because I think it's important. Ranger Kelli: When you get the clay, do you pick it out during different seasons, or do you just do it whenever? Noreen Simplicio: Well, I can say: don't go digging clay when the snakes are out. Noreen Simplicio: So usually in the summertime, we don't really do it. I wanted to go up there before it got really hot and before the snakes came out. So, I would probably have to go make a trip maybe sometime late August, September, when the snakes go back in because it's very rocky and they live in those rock areas. I am kind of scared of snakes. Ranger Kelli: I second that. And I'm a park ranger out here. Definitely, because I know it was really great to hear about some of the- do you want to tell us about the frogs? Noreen Simplicio: Yeah, the frogs. The frogs. Like, I was telling Kelli the other day that I don't really know where some of my ideas come from. It just happens. Like, when I'm creating something, I don't have a plan. I don't have anything sketched out. It just happens. And I think that's the gifts that I have. I remember when I was a young girl, about maybe five or six, I remember always playing with mud. I used to make, like, little mud pots all the time. So, when I went to high school and I found out there was a class, pottery class, of course I took it, and I stayed in it all throughout my high school years, and I perfected it, and I was just a natural at it. And then after I graduated, I met up with another Acoma woman that was a potter, and she taught me marketing, and she said, you need to do this. So, I did, and I've been making pots ever since. And the frog pots, like I said, I don't know where I got my idea for the frog pots, but I do them in many different ways. If you're Zuni, you belong to some sort of clan. I'm not a frog, but I love doing frogs, so I'm a badger and an eagle, so I should be doing badgers and eagles, but I don't know how to make those, so I don't do them. Noreen Simplicio: But frog's representation is what I would say in Zuni, [Zuni phrase]. This means a prayer for rain or water. Whenever there's water, there's life. So, I think that's why I do frogs a lot. And one of the other things that I want to really say is that within the 40 years, I mean, I've been everywhere. Well, not everywhere, but I've been at most museums and places where they have markets. I sell out my frogs. People come to my table. I always get a smile. I always make people happy with my frogs. So, I said, if I had collected $1 within the 40 years, I would be living high and mighty. Ranger Kelli: Yeah, and that's exactly what I've been seeing the past few days that you've been here. And of course, when I went up to your table, I was like… the frogs are so beautiful. The kids were drawn to it. But you've been doing this for 40 years. I think that's a long time. Do you get tired of doing it? Noreen Simplicio: No, because my whole life as a potter, there's never a day that I don't create. If I don't create, I don't feel good. Ranger Kelli: Do you have other hobbies besides pottery? Noreen Simplicio: Well, I should, but I work too much. But I like hiking. I like exercising, taking care of me. I know those are, like, crazy hobbies, but that's what I love, teaching. I love teaching my art. I love sharing my art. As a matter of fact, there's a program in Zuni. It's a youth program they've been up and running for a while now, and it's called the Zuni Youth Enrichment Program. So, I do summer camps and I teach children. I've taught in the high school. I even came here in, I think, a later part of April, to teach. Debbie, my friend, she teaches at the Grand Canyon High School, and I was invited by Debbie and the staff there to come out to the Grand Canyon High School to teach for a week. It was a blast. I mean I hadn't taught for a while, but we had such a great time. We had a showing on Friday night with what the kids created. So, it was a beautiful event, and I was really honored to be here to teach only because, like I said, the Grand Canyon is a very special place for Zuni people. And my boyfriend just said, this is our second home. Ranger Kelli: Being here at Grand Canyon, I know you teach the Grand Canyon Kid's school, which is really important for indigenous youth to reconnect to the culture here, but also be proud of who they are. How long have you been working with the kids? Like kids in Zuni? Noreen Simplicio: Well, actually, when my son was fourth grade in the elementary school, that's where I first got my first pottery teaching job, because the teacher asked me to. It was kind of like a parent talent day or something. So, I went in and took my clay and had the kids play with it and make things out of it. So that was actually my first but don't ask me how long ago that was because I don't remember. But anyway, so ever since then, when I wanted to go into the school, my grandma would always say, why are you teaching other kids? Why are you sharing your talent? I know that sounds so negative, but whatever talent you have, our elders always say that if you share your talent and you teach somebody, it's all going to get taken away. Well, that hasn't happened. I'm still creating. So, grandma, I'm sorry, but I think you were wrong at that. Ranger Kelli: And what is your favorite part of making the pottery? Noreen Simplicio: I think my frogs. Ranger Kelli: The frogs? Noreen Simplicio: Yeah. Because I do a pot that looks similar to this one. The frogs are peeking over, and then I also have another roll of frogs, kind of like pulling them out of the pot. And that kind of goes with the emergence story, because in the emergence story, our people lived in the fourth underworld, and they had to go through different layers to get to the top of the earth. And the way the history goes, they used different types of trees to get to the top. So, it's kind of like the Jack and the Beanstalk story. So, I think our tribe is the one that created that story. That's what I want to believe anyway. Ranger Kelli: Yeah. And then have any of the kids that you taught, are you mentors to them today? Noreen Simplicio: Well, I've not really made connections with them after teaching, but I always have an open door. Like, I give them my number, and I said, if you ever need anything, you need material, you need resources, you need how to do this and that, I'm always there. Ranger Kelli: Yeah. Today I did see some kids who just went up to her table, and she just gave them clay and taught them how to start making clay. And I think she's really great with our youth in this area. She's a great teacher. Noreen Simplicio: Yeah. I love to teach anybody that wants to learn. So, I do sometimes open my studio at home and offer some workshops. Maybe if you ever want to come to Zuni and stay in Zuni and learn from me for a couple of days, you're more than welcome to do that. Ranger Kelli: And that's a lot of the questions I get from visitors. They want to visit a lot of the tribes out in Zuni, but I'm not Zuni, so is there a place where they can go to learn more about the Zuni tribe or people in that area? Noreen Simplicio: Well, we do have a visitor center, and then they have, like, tour guides, paid tour guides in Zuni, and then we have a bed and breakfast place there. Or you can come to me, and I'll take you to our mountain. Ranger Kelli: When you were growing up, you told me that a lot of the connection here at Grand Canyon, it didn't really connect till later on. Noreen Simplicio: Yes. Ranger Kelli: And is some of the…

    Full show notes at the publisher

    Janet Yazzie Speaks Nov 03, 2023
    Show notes

    In this episode, we talk to Diné (Navajo) painter Janet Yazzie. We talk with Janet about how she developed the courage to be a full-time artist, the inspirations for her work, and her favorite parts about her job. Janet even did the art for this very podcast! ---TRANSCRIPT:--- Janet Yazzie”: So I was, okay, I'll do this. I think I can do this. And I kept hearing from my family, you can do this. You're really good at it. I was like, okay, fine. Okay. I'll do it. I'll do it. But then I just I had to believe in myself first to become an artist and to embrace this gift that I was blessed with. Ranger Melissa: Welcome to Grand Canyon Speaks! My name is Ranger Melissa. Ranger Jonah: And I'm Ranger Jonah. Ranger Melissa: Hey, who did we interview today in this episode? Ranger Jonah: Yeah, in this episode, we talked to Janet Yazzie. It was a really unique program in person. We had to initially cancel because of lightning, but by the time the program came around, the weather cleared, a big rainbow came out, and it was just a beautiful evening. Ranger Melissa: Yeah. We actually moved under a shade structure by the parking lot to get away from that extra rain that was just ending. And we had a great time talking with Janet. It was good to hear about her life and how she only recently labeled herself as a full-time artist after taking some really big leaps. Ranger Jonah: Yeah. Even though we were by the parking lot, and this was actually one of our first programs, I was really happy with our conversation. So, without further ado, Janet. Hello! Janet Yazzie: Hi. Ranger Jonah: Well, Janet, thank you so much for coming to the program today. Janet Yazzie: Thank you for having me. I'm excited. Ranger Jonah: So, my first question is, where are you from? Janet Yazzie: I am originally from the Navajo reservation called lower Greasewood. It is like 100 miles away from here, northeast, but I live in Flagstaff, Arizona, currently. Ranger Jonah: A little bit closer. Very nice! And so, you are an artist. And how did you start your career? Could you kind of tell the story of when you first decided that this was what you wanted to do? Janet Yazzie: Okay, well, it took me a long time to get to where I'm at right now and to figure out that I wanted to be an artist. I did start as a child. I remember working on something in my class when I was in the third grade, and it was a bluebird and I entered it into a contest. From there on, I decided that I felt like I could draw but I didn't really take on that I could really draw. I doodled along the way with pencil, charcoal, not knowing that that was my medium yet, or I couldn't find what I was really interested in. I did woodwork, I did ceramic. I did a lot of craft art. And then somewhere along the way, I started working with acrylic. And acrylic seemed like it was a little bit hard to do at first. Ranger Jonah: Sure. Janet Yazzie: I did buy some canvas and paint, and I just kind of storaged it away and then didn't look at it for a long time because I went to school. You get busy with your life. Went to college, had various jobs. And then even when I was in high school, I took art class, and I found that it was pretty interesting, just art itself, and some of my art teachers, they would get us to do different projects. But then again, I didn't think, oh, art, should I do art? When you're a kid, you don't know that's the way you want to go, to be an artist. So, I just left it as that. Still had my canvas and my paint storage away, and then took some classes in college and then took an art class for an elective because it was, like, the easiest class to take. And I just kind of coast right through it because my teacher wasn't challenging enough for me. And she used to put, like, just still life items in front of us, and then she's just like, okay, you guys draw this. And yeah, I did it. And it was like, okay, what's next? So that wasn't challenging enough for me. And still, it didn't click, being an artist. But I did meet my husband in art class. Ranger Jonah: Well, you should’ve known right then and there! Janet Yazzie: Yeah, that wasn't what I was looking for at the time. And my art teacher paired us up, and we did a project together, and we became best friends. Since then, we've been inseparable. We got married. We had four kids. And then I got busy with this, you know. Well, that happened a bit later, but I did have my first job at the Heard Museum. And I used to be around all this amazing art, a bunch of different artists from all over the reservations around me. And it was kind of amazing just to be around all that art. And I thought, I could do that. I could do this. But I was like, no, I don't know. And then I had my family. I was busy. And still didn't figure that I could be an artist. And then somewhere I started doing commission, like, just painting. But I did it for my family, people that knew me. I did, like, little pieces, then I'll just gave them as gifts. And then I decided, okay, in 2019, I'm going to do a mural. So, I did a little mural for one of the churches that I go to, and it was pretty small, so I did that first. And then within that time period, the people that I knew there, they wanted me to illustrate a book for them. So, I was like, okay, this is a big step, illustrating a book. Ranger Jonah: Certainly. Janet Yazzie: Can I do this? It was kind of a scary thought at first. I was like, all right, I'll try it. And I did a sketch, and I did the painting, and they loved the cover. So, I illustrated my first book in 2020 during the pandemic, when it was just starting. And then I just kept painting, and I did murals, another mural. Then I did another mural, and then I started working on more pieces. So, the whole year of 2020, I was painting, and I was trying to figure out, okay, is this what I want to do? So, I was like, okay, I'll do this. I think I can do this. And I kept hearing from my family, you can do this. You're really good at it. I was like, okay, fine. Okay, I'll do it. I'll do it. But then I had to believe in myself first to become an artist and to embrace this gift that I was blessed with. So, I was like, all right, I'll paint something, and I'll see what it'll come out to be. It took me a long time to get to realize that all right, I should be an artist. It wasn't just like, instant. I had to really think about it. Ranger Jonah: You had to build the confidence? Janet Yazzie: Yeah, I did. I had to build the confidence. And then I had to figure out what art really meant to me before I really started painting. And then I was like, okay, I'll just go ahead and start painting. And then what year was it? Right when the pandemic was over, the Heritage Festival put up their first show in July of 2021. And I thought to myself, should I do this? I was so scared. Ranger Jonah: And your friends and family, I'm sure, said, "Yes! Please!" Janet Yazzie: Yes so, I had to submit images, and I filled out the application. I waited, and I was like okay, I can do this. All right, I'll just do it. So, I sent it and that same evening, they responded to me, and they said that you are accepted as an artist. So, I was like, okay. Ranger Jonah: A very quick turnaround time. Janet Yazzie: So that was a really big step for me. So then from there, I figured, okay, I can do this and be an artist. I had to really think about what I was about as an artist. I know people, when you ask them, what inspires you? What made you get into this? It took me a long time to figure out what I really wanted to do with my life and what I really wanted to be. Ranger Jonah: Certainly. But it came together. Janet Yazzie: It came together. Once I figured it out, all the opportunities and everything opened up. Ranger Jonah: All the doors show up right when you're looking for them. Absolutely. Janet Yazzie: It's been amazing. And I'm not done. I just got started! Ranger Jonah: Yes, certainly. So, the first big projects, the mural, the book, those were really what launched you into your career. But you were just talking about inspiration. Was there someone in your life, perhaps when you were growing up that maybe encouraged you more, that you took a lot of inspiration for? I know that you have your grandmother in a lot of your art. How did your grandmother encourage you? Janet Yazzie: Okay, so I grew up with my grandmother. I was the first-born child on my mom's side, and she used to drop me off with my grandma when I was little, so I spent a lot of time with her. And I remember we're did, like, planting. We did a whole cornfield. We did sunflowers, and she was a weaver. And there's just like, all these memories that I created with her, and she was really special to me. It was kind of like a language barrier, too, because I wasn't really super fluent in Navajo, and she passed away when I was a junior in high school. She used to always wear purple. All these little things that I paint in my artwork, like the cornfield, the sunflowers, and the sheep, these are all the memories that I keep of her, to keep her alive. And it's kind of nice, too, when I do these paintings, a lot of native women are just my Diné people. They'll come to me and they'll remember stuff that they used to do with their grandmas. Ranger Jonah: Yeah. So, they take something for themselves. Janet Yazzie: Yeah. And then sometimes when people come and look at my work and they'll start crying, they're like, oh, I miss my grandma. She used to always wear purple. These are the things we used to do. I like to capture that kind of stuff and kind of share it with everybody. That was very special. Ranger Jonah: It makes the career all the more meaningful, right? Because your art really affects people. Janet Yazzie: Yes, it does. Yes. So, I think just the colors themself, the work I put into it. Everything that I do in my work, it means something. Just people looking at it, inspired by the colors. I think my work has done its job by just them looking at it. Ranger Jonah: Absolutely. Janet Yazzie: Yeah. Ranger Jonah: So, you kind of already mentioned the colors as some of the symbolism, perhaps, of personal significance, and then how it has a way of connecting with people. What are some of the other symbols that you like to use in your work? Janet Yazzie: Let me see. I do windmills. I do the windmill. I grew up around the windmill, so hauling the water when I was young, we took many trips hauling water for my grandparents, and water didn't come easy because you have to use that for the livestock, for the crops, and just even washing clothes. So, the windmill plays a lot in my artwork, and I like to change the scenery as well and just kind of work it in my artwork. Ranger Jonah: But it's a lot of scenery that you remember as a child, these memories that come back to you. Which brings up another question that I have. You talk about how these scenes are from various points in your life and how the colors are inspired by various things that you remember. So, I was wondering if you could talk a little bit more about the process of actually creating a piece of work. When you are beginning perhaps an acrylic painting, for example, do you see all that in your head right when you begin? Or do you just say, I'm going to start with a lot of different types of orange, and then we're going to see where it goes from there. Janet Yazzie: Usually when I start a piece, I already know what color it's going to be, and I already see it. So, I'll start with the background first, and I kind of play with it. And then once I like the background, well, I don't make it too dark. I make it light enough where the colors are light but bright. And then I put the main idea on there. And then when I have the main idea there, I'll go back to the sky and I start working on that, and I'll start detailing it and then comes out to something that I don't know what it's going to look like at the very end. Ranger Jonah: Right. Janet Yazzie: Sometimes I'll step back for a moment and I was like, oh, wait, I don't like that there. And I'll fix it, go back and forth. And then to me, a painting is never done because I can go back to it and add something or kind of detail it some more. But yeah, most of the time I already know what it's going to look like. Ranger Jonah: Do you consider yourself a perfectionist when you start and then you're sort of completed? How do you know when you're done? Because I imagine there's always a feeling that maybe it can be tweaked just a little bit more. Janet Yazzie: I try not to be a perfectionist. Ranger Jonah: I'm sure that helps. Janet Yazzie: I know when I did one of my like, my favorite piece. It was called the Arrow Head Cheíí. This one was a pain to do just because when you get the front texture of the scale, I wanted to make it look really sharp and colorful. That one was the one that I was wanting to be like perfection. But of course, you can't get perfection. Ranger Jonah: Just depends on how you define it! Janet Yazzie: I just wanted it to look really nice, and it came out beautifully when I was done. Yeah, I would have kept that one. It was really nice, though. Yes. Ranger Jonah: And you talked a little bit about this, but windmills and the sky, I mean, you have a very distinct style. So how do you feel like your style may be unique compared to some of your contemporaries. Janet Yazzie: I do a lot of night skies. I change up the colors. I got really good at it. From my first piece when I did the night sky in 2020, I compared it from then to now. It is completely different. I look at my work from a while back to now, and I can just see all the practice that I've done in my blending up until now. Oh my gosh. I didn't realize my technique has changed so much, and just the way that I look at the sky, and I really pay attention to it. I always pay attention to my surroundings. When you're taking a walk, you take a look at the sky, and a cloud isn't just white. There are other colors in it. So many different colors. So people will just paint, like, a white. It's not white. I think the cloud was kind of hard for me to do at the beginning. Now it's not I can get it and just make it a little bit different, the way I want. That's the same as the night sky. So, who knows, maybe I'll get a little bit better as the years go by. I'm not perfect yet. I'm still practicing as I go along. Ranger Jonah: Doing the night sky, is there a direction? Perhaps you see your style going. Is there something that you've wanted to tap into that you haven't had the time or focus to get to yet? Janet Yazzie: Yes, I have this huge canvas. It's really large. Ranger Jonah: Going back to the murals Janet Yazzie: I don't know how big it will be. I'm not sure what the size is. This canvas was donated to me. I'm going to put a huge night sky, and then I'm going to put all our Navajo Nation monuments on it. So, this thing is going to be big. I just haven't had the time to do it, but I already know what it's going to look like. So, in the future, I will do that. Ranger Jonah: That's very exciting. We'll have to keep tuned. So, of course, being an artist who sells their work, you have to go to shows. So, what are some of the shows you go to and how did you get started with them. Janet Yazzie: Okay, so my first show was the Heritage Festival in Flagstaff. That was my very first show. And it was amazing because I got to meet a bunch of artists. From there on, I did a bunch of local shows in Flagstaff. I did, like, the art walks.…

    Full show notes at the publisher

    The Zuni Youth Enrichment Program Speaks (part 1) Nov 03, 2023
    Show notes

    The first of a two-part series. In this episode, we talk to two alumni from the Zuni Youth Enrichment Program, Lashae Harris and Chasady Simplicio. LaShae is an embroiderer, while Chasady is a weaver. This conversation explains the Zuni Youth Enrichment Program, how each artist decided which art to pursue, and the value of keeping traditional art alive. ---TRANSCRIPT:--- LaShae Harris: I think it presents itself as, like, just giving kids an outlet to even experience these art forms, because I know without ZYEP, I would have probably never touched embroidery or gave it a second thought. Ranger Jonah: Hello, and welcome to Grand Canyon Speaks. My name is Ranger Jonah. Ranger Melissa: And I'm Ranger Melissa. Ranger Jonah: So, Melissa, could you tell us a little bit about this episode? Ranger Melissa: Yeah! In this interview, we hear from two Zuni Youth Enrichment Program alumni, Chasady Simplicio and Lashae Harris. Ranger Jonah: Yeah. And this is actually the first of two episodes we have with alumni from the Zuni Youth Enrichment Program. Ranger Melissa: Yeah. What's really cool about this episode is that we're hearing from the voices of youth that come from our tribal communities. They're only 18 and 24, if you can believe it. Our coworker Dan had the pleasure of interviewing with them. Ranger Jonah: Well, it sounds very exciting. So, without further ado, Chasady and Lashae. Ranger Dan: We'll get this program started. This is good. This is one of the more interesting interviews that we've had here. Not because the people aren't interesting or, uh, this is a terrible way to enter. (Laughter) Chasady Simplicio: You're going to have to do some editing. LaShae Harris: Start over. Ranger Dan: We are going to start over. I'm giving space on that so we can actually get this going. Well, thank you for coming out to Grand Canyon and being part of the cultural demonstration program here. It's a great honor to have ZYEP Zuni youth enrichment program out here and having you two as some of the representatives for the program, and especially as your first time here as cultural demonstrators at Grand Canyon. So, I would love to have you both introduce yourself and yeah, thank you. Our three beginning audience members here. So, I'd love for you to introduce yourself, where you're from, how old you are, and what is your discipline here that you are specializing in as a cultural demonstrator. LaShae Harris: Okay, I'll go first. My name is LaShae Harris. I'm 24 years old from the Pueblo Zuni. And my discipline here is pueblo embroidery or traditional embroidery. Ranger Dan: Cool. Thank you. Chasady Simplicio: Okay. Chasady Simplicio. I'm 19 years old, and I'm also from the Zuni pueblo, and my discipline here is pueblo weaving. Ranger Dan: Awesome! We've got embroidery and also weaving. So, two things that really complement each other very well. There's similarities and differences to these different art forms, which is awesome. What about the medium that you practice of embroidery and weaving drew you into pursuing this? And it's only been about a year or so for both of you for your art form. So, what drew you into starting down this path of embroidery and weaving? LaShae Harris: Well, for me, I was looking for something that was other than some kind of art form, other than drawing or painting. I just felt like I hit kind of an artist block for a long time where I felt like I couldn't create anything. I just didn't know what to create or what to draw or anything. So, when I saw the opportunity to have the embroidery apprenticeship. I applied, hoping that I would get in, and I was selected for the emerging artist apprenticeship. And I like that it kind of got me out of this sort of rut that I was in, because it's very methodical with the planning and mapping out your design, and it's like you follow a kind of method. So, I kind of like that. You can still be creative with it, but it's not so much pressure to draw something new or paint something new. It's just kind of the designs are there and just replicating the designs and creating your own project. Ranger Dan: Awesome. Chasady Simplicio: Okay. So, for me, at first, I kind of wanted to help out my family in some way or excel at some sort of art form. I tried painting and drawing, but it never really was as good as I would want it to be. So, then, I joined the class in my sophomore year of high school for weaving, and I learned some things here and there. I was able to excel to a certain point, but once I saw the apprenticeship for pueblo weaving, I was like, I really got to get in there. Maybe I can learn something new. Especially since one of my friends had taken the previous apprenticeship before he took two, and he learned a lot of the historical background of it. And it got me wondering, what would the historical background of weaving be? So, I decided, well, I'll just give it a shot. So, I applied, and when I got the call that I was accepted, I was so excited. And after learning all the things that I've learned down from the symbolism of the designs and everything, it felt like I just excelled at an abnormal rate, I guess, because as soon as I learned what the designs meant, it was like the designs just kept popping up in my head, one right after another. And I guess I really got to thank the teachers that were there. They helped a lot. Ranger Dan: So, a great influence from the teachers for both of you have helped out with excelling in your artistic form. Chasady Simplicio: Yes. Ranger Dan: Cool. That's great. And it's a traditional art form, right? Yeah, these are art forms that have been around for hundreds of years, right? This is like, specifically Zuni too, right? Or, like, the styles? LaShae Harris: Pueblo styles. Yeah. I think a lot of the pueblo share different elements, and we kind of, I guess, adopt one another's styles, especially over history and throughout time. We've adopted various ways of dressing and different styles of clothing from other pueblos, as well as, like, pottery designs too, even jewelry styles. So, it's a lot of sharing going on within the pueblos. But what is uniquely Zuni is the language. We're an isolated tribe, an isolated language. So only Zunis speak the Zuni language. Ranger Dan: Okay, very cool. I've noticed over the years there are some similarities, some to, like, Hopi a little bit, but there isn't that full crossover. Like you say, Zuni is its own specific language, which is very interesting. It's your own area, it's your own thing. But then branching out from there, this textile work is, like you say, there's similarities to different Pueblo areas across the Southwest. And what is a big influence has Zuni in some of these, the work that you do, like, I know we have a bit of an embroidery here. This is from Elroy, and you've got some belts that you have made over there. And so, what about your pieces kind of sticks out as more Zuni than potentially other Pueblos. LaShae Harris: I think maybe the way that we interpret our designs and what we consider them to, like, all the colors have meaning. The different shapes and styles have meaning. And I'm not too sure if they translate to other Pueblos or if they're the exact same or not. I know that there are some similarities in the shapes and styles, but I'm pretty sure they have different ways of taking those designs and patterns into different ideas. Chasady Simplicio: I guess the same would kind of translate over into weaving as well. The one that I have right here, this is not one that I made. It was purchased from Acoma by Elroy, and it's made from wool. But you can still see the different kinds of symbolisms in there. So, the ones that I made, they're like rolling clouds. And I guess you would say this one is like fraying clouds. Like, you know how the ones that kind of streak into the sky kind of like that. I think a lot of that kind of translates into all different types of Pueblos. I'm not sure if they have other meanings too, but I'm pretty positive that other Pueblos are able to add in some things that we are unable to add, such as animals. Ranger Dan: Okay. Chasady Simplicio: We're not able to, I guess, put in animals in our sash belts, because when the dancer wears the sash belts, whatever is on the sash belt is what they pray for. So, if, let's say there's a frog on a sash belt, instead of rain coming, frogs are going to come. And I guess the reason why also, from what I was told, was Hopis, they put animals on there, such as, like bears and stuff in order to, I guess, get more game throughout the year. But I do know there is several differences between Pueblo belts and Navajo belts. There are several differences, such as... One thing that you will notice is how long their fringes are. Their fringes are very long. As from Pueblo belts, they're really short. Ranger Dan: Okay. Very interesting. Like you're saying, there's a lot of symbolism involved with both of your work and also within Zuni culture. What about this art form for both of you makes it worth it for both of you to pursue this path of embroidery and weaving? LaShae Harris: For me, I think it's the idea that these pieces are going to be around for a very long time. They're not just like, wear it a couple of times and then you're never going to touch it again. A lot of the times, like, kilts and traditional clothes are handed down between families and generations. So, it really makes me happy to know that these will be around for the long term. And who knows? There's so many traditional textiles and stuff that are held in museums and stuff. And I bet the creators, when they were making it, weren't ever expecting them to be held up in museums or to be around for as long as they've been around. And so I guess that's my hope, to create pieces that are here to stay longer than me. Ranger Dan: Definitely. Chasady Simplicio: I would have to agree with what Lashae said. A lot of the stuff that we make, it gets handed down, or as somebody passes on, they do take it with them. And I really do hope that, like her, I really do hope one day my pieces will stay around for longer than I am, or like I will. And I don't know, I guess for me, there's something about it. When you work on your pieces, there's just something about it. It's like with weaving, it's like you're creating life. In the beginning, it was only males that created sash belts because of their inability to create life. Unlike women. It wasn't until Western immigrants came over that they taught women how to do other types of things, like crocheting and all of that. I believe it wasn't until then that females were able to create sash belts. And in other words, your artwork is technically like your child, so you kind of want to talk to it and treat it like it is a living being, because that is how we see our things being made. Ranger Dan: Yeah, it's a creation in and of itself. And you get to watch the piece grow as you're making it, and then it goes to someone in your family, someone at Zuni, and you can then watch it have its own life in that form with everyone, which is a really beautiful way to look at it. It does have its own life. And that piece, like you say, can potentially outlive yourselves. And we all create stuff like that that we can be remembered by and live on through as well. So that's beautiful. And so, it's like that feeling that you're getting from it, like a little bit of joy, some happiness, and maybe just a feeling that almost maybe can't be described when you get that piece ready and are working on it. LaShae Harris: Yeah. And they definitely teach us to work when you're in high spirits and to put your best into the work, because they say it kind of draws in the energy that you have while you're creating it or while you're creating that piece. So you want to be happy and not get so frustrated. And they say your work will kind of reflect your mindset, and your pieces just won't work out if you're not in a good mental state and you're trying to create stuff. LaShae Harris: Yeah. There's a lot that goes into it, even with embroidering, like how we're talking about the pieces living on beyond you. I was taught not to really get my sweat or my DNA into the piece itself, because it's like taking part of your soul, your spirit with it. Kind of, in a sense. And I was taught that when you pass on, you could potentially be haunting through your work because it's got some of you tied into it. You really have to be careful with your pieces, and there's a lot that goes into it that you don't even think about until you start really thinking about it. Okay. Yeah. Ranger Dan: All right. Chasady Simplicio: Yeah. And I think it is the same with weaving, and I believe also with embroidery. It also teaches you a lot of patience. You got to learn to be patient with your work, because everybody's first time making a piece isn't going to be perfect, and you just can't get frustrated. It just teaches you a lot of patience because you'll make mistakes. I don't know, it'll make you feel a little uncomfortable with how unforgiving weaving and embroidery can be. I've tried embroidery, and I can say, it's not my cup of tea. I can't do it. I can do weaving, but I tried embroidery, and I was like, no, I can't do it. I can't do it. Ranger Dan: They're similar, but yet so different in a way where I know we were talking earlier today, Lashae, about where a piece begins, and if you're off by one square, which is a count on your piece, and then, say, you get, like, five inches away, and then realize that five inches backwards is where you went wrong. And you've got to redo everything. And that's got to be a little frustrating. LaShae Harris: Yeah, it can be. And it definitely plays tricks on your eyes, too, when you're just staring at the same piece of cloth for quite a while. All the counting, it's tricky. For those who don't know, there's tiny squares on here, and you have to count kind of, like, cross stitch, and with huge pieces, you're, like, counting the thousands. Thousands of squares, Ranger Dan: Both of you are new with your art form, and you've had influence through ZYEP, which is the Zuni Youth Enrichment Program. Can you talk a little bit about what that program is and the goals that are associated with it? LaShae Harris: Yeah. So ZYEP started in 2009, and from my knowledge, it started out as just a simple camp for, like, ten youth, because that's all they have funding for, and it was just a summer camp to keep youth busy. It's since grown. They celebrated their 15-year anniversary this year and they now can serve over 200 youth in the summer for the summer camp alone, which gets filled up on the first day as soon as applications open up. It's in such high demand. They have a waiting list all summer of kids just wanting to get in. But they've also started to encompass other ways of enriching youth lives in Zuni through the art department, and there's a food and nutrition department. They push for a lot of cultural activities as well as decolonizing your diet and kind of reviving ancient recipes or utilizing old recipes to create new, modern ones. Which is really cool, because then youth get a chance to not only experience food that was eaten a long time ago, but they also get to try it in new ways. And they come up with crazy menus all the time and it's so delicious, all their food. And the art depa…

    Full show notes at the publisher

    The Zuni Youth Enrichment Program Speaks (part 2) Nov 03, 2023
    Show notes

    The second of a two-part series. In this episode, we talk to an alumnus of the Zuni Youth Enrichment Program, Cassandra Tsalate. A potter, she discusses how she connects to her community through her art and the empowerment she gains through her pottery. ---TRANSCRIPT:--- Cassandra Tsalate: Yeah. And the thing, too, about pottery is, yes, over time, it will break. It will diminish. But when it does, that's when you know that its life was its full potential. Ranger Jonah; Hello, and welcome to Grand Canyon Speaks. My name is Ranger Jonah. Ranger Melissa: And I'm Ranger Melissa. Ranger Jonah: And, Melissa, this is the second part of our interviews with alumni from the Zuni Youth Enrichment Program. Ranger Melissa: Yeah. This one is with Cassandra Tsalate. She goes by Cassie. Really cool Zuni potter, only 21 years old. Really fun interview, hearing about her connection to community through art. Ranger Jonah: Excellent. Can't wait to hear it. Without further ado, Cassie. Cassandra Tsalate: Hi, everybody. My name is Cassie Tsalate, and I'm from the pueblo of Zuni, and I am 21. This is my first time here at the Grand Canyon. Ranger Melissa: Yeah, and we're excited you're here. You're here with some other folks in the audience representing the Zuni Youth Enrichment Program. You're alumni of that, which is really cool that you're out here, especially you've only been doing this for how long? Cassandra Tsalate: For at least a year and a half. Ranger Melissa: So not too long. And your work is already, like, mind blowing how good it is. Cassandra Tsalate: Thank you. Ranger Melissa: My first question is how did you get into pottery, and how did you find pottery as you found that talent and that inspiration? Cassandra Tsalate: Well, as a kid, I've always found an interest in art, basically drawing. I used to draw all the time. But one thing that got to me was seeing how pottery, the symbols, I've always wanted to see what they meant, because my family, they're jewelry makers. And sometimes I will ask them, what does this mean? What does that mean? Sometimes they will give me an answer, sometimes they wouldn't. And so, I grew up with them being more of my inspiration, jewelry makers, but not just jewelry makers, other artists as well. Yeah. And so, with pottery, I recently became an intern at the A:shiwi A:wan Museum. And so, as an intern there, I got to take a look at the older pieces, pieces that were there that were made in the 1600s. And so, with those pieces, I got to really just kind of observe them. And then there was pieces that were coming through that were from the early 1900s, and I got to actually look at those ones. Ranger Melissa: Oh, cool. Yeah, like, actually handle them? Cassandra Tsalate: Yeah, I got to actually handle them. Where I even got a chance to look at some candlesticks and a water jar that was made in the 1920s. Ranger Melissa: Oh, cool. Cassandra Tsalate: Yeah. Ranger Melissa: Is that what's inspiring the candle jar you're working on right now? Cassandra Tsalate: Yeah. So with the candle... Ranger Melissa: Do you mind if I show everybody? Talk about it? Cassandra Tsalate: Yeah. So, about the candlestick holder. Candlesticks weren't introduced until the Spanish arrived, which is the 1600s. And then moving forward into the 1800s, they were made mainly for the art market or possibly for the churches, because we do have Catholicism in our tribe. And so, moving forward, candlestick holders weren't being made, really, because then electricity came into our village and so nobody really makes candlestick holders. And so, I decided maybe I'll bring them back. Ranger Melissa: That's cool. I like how you're kind of seeing these things that you're looking at in the museum and then trying to bring it back or revitalize some of that culture. What is your favorite part about being inspired by other artwork? Cassandra Tsalate: My favorite part is the dedication. The dedication it takes for people to work from piece to piece. And it takes a lot. And the cool thing about every artwork is that it's not just one person. It takes a whole family; it takes a whole community to be involved. Like jewelry. Some people have their husbands working on a certain thing. Some people have their wives working on a certain thing. Same thing goes with pottery. And so they just inspire each other to work hand in hand. Ranger Melissa: That's really cool. So, it's like communal artwork, almost. Cassandra Tsalate: Yeah, communal, definitely. Ranger Melissa: It's like everyone's putting in part of it, and then you get this beautiful piece of artwork at the end. Cassandra Tsalate: Yeah. So, everybody's involved. Kids, even the youth, all the way to the elders. Ranger Melissa: That's really cool. Cassandra Tsalate: Yeah. Ranger Melissa: You were saying you like looking at the designs and find the meanings. Do you have a favorite design that you have given meaning to? Cassandra Tsalate: Yeah, so one of those pieces is not really here, but my favorite designs here would be like, the rainbird. So, the rainbird is this bird that has this hatching on it, and so it represents the rain falling. And so, on this part, like the whole piece, you have here the spiritual world at the top, at the neck. And then you have the middle, which is the present world, and then the bottom, the black part, which is the underneath worlds. And so, my design for the rainbird is that this rainbird touches the water, and it goes into bringing the rain. And through the top part is the spiritual world. And so, the rainbird is going to the left, which it means that the rainbird is going to meet our ancestors. And then through the present world, the rainbird is coming back to bring the rain. Ranger Melissa: Oh, cool. It's like a cycle. Cassandra Tsalate: Yeah, it's like a cycle. And then we have here also prayer sticks. Prayer sticks. And of course, the mountains on the rainbow itself that show the heavens and a river that goes in between. Yeah. Ranger Melissa: That's really cool. What parts of your art are traditional versus contemporary? And how would you define the two of those? For those who don't know what that means. Cassandra Tsalate: Yeah, so traditional would mainly consist of the actual form. So, for instance, the black on white here, these are more made from the prehistoric times, which our ancestors, the ancestral Puebloans they would be making the black on white, such as this corrugated. And so that was made way back like hundreds of years back. Ranger Melissa: Corrugated? Cassandra Tsalate: Yeah, corrugated is a cooking vessel. It holds the heat in and it's very sturdy too, so it prevents it from overflowing. Ranger Melissa: Have you tried cooking in it? Cassandra Tsalate: No, I haven't. With this one I haven't. So that's my next project. And so throughout the years, then you go moving forward to things like this, the rainbird, the water jars, which are more from the 1800s and then going on to more the recent stuff, which is like the 1900s onto today. Ranger Melissa: That's cool. Cassandra Tsalate: Yeah. Ranger Melissa: Do you have parts of the art that are only in your work? Like, I know that is a Cassie original? Do you do anything like that? Cassandra Tsalate: Yeah, I do. For instance, this owl. So, this owl here. Well, owls were actually made 100 years back, but the difference between my owl compared to others is usually owl's beaks will be connected, but mine is different. And then its wings don't expand, it's just kind of tucked in. It's tucked into its side. And then so this is the owl. The owls functioned as seed jars. And these seed jars, they would hold the seeds. A long time ago, when our village would get raided by the outside communities, the nomadic tribes, they come in and would steal the seeds. But in order to protect the seeds, our people then made the owls. The other people, they didn't want to even touch the owls because it was taboo for them. And so, in an innovative way, they put these to hide them. And so, this is how this owl came to be. Ranger Melissa: That's cool. Cassandra Tsalate: Yeah. Ranger Melissa: Do you mind if I show that one too? Cassandra Tsalate: Yeah. Ranger Melissa: Cool. Cassandra Tsalate: And so other things too, that I make that are different are in the designs. I really want to get more into knowing what the designs mean, to interpret it for myself. We really don't know what some of these designs mean and so we're trying to get back into knowing what these designs mean. And so, I come up with things like I call this bird's eye view, which is this abstract version of the sun and then the bird kind of flying into the sky. And then these triangles kind of depicting this geometric figure of a bird flying in the sky. Cassandra Tsalate: So, they're all different. They all each have their own meanings along with this candlestick. Through all these different designs, there's things that represent the wind forming, which is always like a swirl. And so, the swirl always depicts wind or sometimes water. So, you have that and then you have the earth, which is the black bottoms. But the crazy thing is I never really found out what the symbol for fire really is. And so maybe it's hidden, maybe it's there, but we really don't know. And so, with this candlestick holder, I decided that this part is supposed to be red, so I'm going to paint it red. And then this will mean like, the fire. And this is the clouds. So with fire, sometimes we need fire. And the fire is what also keeps our pottery cooked, so in that way it forms the full life. Yeah. Ranger Melissa: Oh, cool. That's kind of fun, where you have some symbols to work off of, but some symbols where there is nothing defined. Cassandra Tsalate: So, then you improvise. Ranger Melissa: Yeah. It's kind of cool that you can combine both of them to create these different pieces like you have up here. When you were learning how to do pottery and become a potter, what were some things you noticed from that process of learning the skills from your teachers? And what was all of that like, and what did you really gravitate towards? Cassandra Tsalate: Yeah, so the people I have to thank the most are my teachers, who would be Bobby Silas, Hopi potter and Zuni potter, Gaylon Westika. Bobby does more of the traditional, so he does Zuni pottery and his Hopi pottery traditional. He's trying to revive his own work of Hopi pottery. And then Gaylon, he does traditional and contemporary. And so, they taught me how know make the forms, even just like making a big water jar like this, which I struggled in the beginning, I still struggle now. It feels really good to finally see my pieces come together. The other people that I would have to thank would be this pottery class I was taking at the A:shiwi College. And there was a Tesuque potter. There was the famous Noreen Simplicio. And there was Anderson Peynetsa and all these other potters that were barely beginning, but then they excelled as the weeks went by. They were the ones who inspired me as potters. Then we kind of just helped each other work together. They taught me some different techniques, like different coil techniques, different ways of doing things easier. Cheating, I guess you could say so, yeah. They taught me cool tricks. Ranger Melissa: That's cool. Earlier, we were talking, you collect your own clay, you make your own pigments. Did they show you all of that too? Is that something they taught, or did you have to learn that on your own? Cassandra Tsalate: No, I always had help from someone. We went as a class to go with ZYEP to go get clay. And then with A:shiwi College, we also did the same thing. We went to go get clay, get slip. We got some pottery shards that was given to one of my teachers from a museum to actually use them, which then kind of made it all the more real within our pottery. And so, we each taught each other, like, this is the best clay deposit to go to. Oh, you should go to here. Even my family members, those who are potters, they even said you should go here and there to show me the places to pick them. Ranger Melissa: So it goes kind of back to that communal learning, growing, sharing knowledge. That's really cool. Cassandra Tsalate: Exactly. Ranger Melissa: It doesn't just go into the artwork itself, but how to get to this. It's every step of the way. Cassandra Tsalate: Yeah, exactly. Ranger Melissa: That's cool. When you were learning pottery, the role of being a potter in Zuni, can you talk a little bit about that history and how you see your own identity into that role? Cassandra Tsalate: Okay, so the role of pottery is that a lot of people say that there's not a whole lot of potters, but I would say that there is a lot of potters. Like every family has had a potter or will become a potter. And so being a young person, it really makes this kind of pride that we are trying to bring it back. And so, my role, for me, is to actually make this pottery to use, to actually use the pottery for ceremonies, for everyday use. And so that's what I want to get to. To that point, to get back to how it all started, which was where we actually used the pottery, Ranger Melissa: Not just putting it on like a mantle, you're like actually putting it in the kitchen or taking it with you and putting seeds in your owls and stuff like that. Cassandra Tsalate: Yeah. And the thing too about pottery is, yes, over time it will break. It will diminish. But when it does, that's when you know that its life was its full potential. Ranger Melissa: Oh, cool. Cassandra Tsalate: Yeah. So it's a cycle. Ranger Melissa: I like that. And you even said earlier, taking the shards to maybe make new art, new pottery. Cassandra Tsalate: Yeah, exactly. So it's a circle of life. Ranger Melissa: That's cool. Cassandra Tsalate: Yeah. Ranger Melissa: Earlier we were talking about kind of like women empowerment too. What is that like, being a potter in Zuni? How does that help your empowerment as a woman? Cassandra Tsalate: Well, as a woman, well, way back into prehistoric times, it wasn't just women, it was men and women, I would say. And there are some archeologists who have found that men's DNA was on the pottery. Cassandra Tsalate: It was communal. So, it was very communal because they had to help each other to survive. And so, they worked hand in hand. And then years later, it became more like the women could stay behind while the men went out to go hunt, fish, gather. And so, the women having more of that patience, I guess you would say that they kind of work more on the pottery, even basketry. From there, then it shifted into this part where in the 1800s where gender roles were really established. And that would be where the men know what their work is, and the women know what their work is. And so, the women being the potters, they really worked into their designs, to their meanings, because the men could participate in more of the ceremonial events, whereas the women, they couldn't. And it wasn't to push them back or anything, it was to protect them as well, because women were looked up as very sacred as well. And so, the women, they would put their prayers, their designs, like the deer in the house, and all these different designs, this was their prayers. Asking for the men to have successful hunt, to have their life roads be long, for everyone to be rich in crops and things like that. And so, it was their prayers. And so, as a woman now it's like that idea that we want to bring that empowerment, that it was the women, this was their work, this was their meaning to the commu…

    Full show notes at the publisher

    Previous 1 2 3 4 5 Next

    Related Podcasts

    Fresh Air

    1

    Fresh Air Arts
    Twenty Thousand Hertz

    2

    Twenty Thousand Hertz Arts
    The Black Tapes

    3

    The Black Tapes Arts
    Snap Judgment

    4

    Snap Judgment Arts
    Here’s The Thing with Alec Baldwin

    5

    Here’s The Thing with Alec Baldwin Arts
    The NoSleep Podcast – Creative Reason Media Inc.

    6

    The NoSleep Podcast – Creative Reason Media Inc. Arts
    footer-logo

    Contact Us

    Toll Free: 844-670-7747

    Links

    • Home
    • Top Charts
    • Networks
    • Apps
    • Independents Podcasts
    • Podcast Advertising
    • Podcast News
    • Contact Us
    • About Us
    • Analytics & Insights

    Stay Connected

      Privacy, Terms of Use & Our Code of Ethics Protecting Content Creators Copyrights