Today I looked out of my window and considered how I felt about the weather and how the weather makes me feel.
Today is the shortest and tonight is the longest of the year.
With recent political upheavals in the world and ongoing environmental abuses and evidence of climate change it can be all to easy to focus on darkness and suffering.
To be still in the Dark and to find the Light within ourselves and one another feels more important than ever.
“The mystery of darkness and divine light belongs to each of us and to the world. We are the world waiting in the darkness and we are the light waiting to be born. It is only too easy to see the darkness around us — the forgetfulness of the sacred nature of creation, the destruction and desecration of our beautiful and suffering world. We should not avoid being aware of what we are doing to the world, but we need also to turn toward the light that is waiting within our own heart and the heart of the world. We need to hold this sacred light in our hearts and our life. We need to be the prayer for the world in this time of darkness.”
Image source/artist :: unknown
My Vne Este Mvskoke exhibition came down last Thursday. Through this ten-year body of work, I have used art making to talk about my journey into my Muscogee heritage and to tell unspeakable stories from my tribal and personal history.
I have also created the opportunity for myself to stand up and talk to people about my work and about issues relevant to Native Americans. I spoke about my current exhibition at two Private Views that I held. Throughout my exhibition, I also had a Pop Up Native American cinema in which I raised funds for the National Indigenous Women’s Resource Center in the US. Before each screening, I spoke about the issue of Missing and Murdered Indigenous Women in North America and then introduced the film. And last Friday I gave a 45 minute talk and dinner about my current exhibit and my Mvskoke Journey.
To be at ease when speaking in public before an audience was a goal that I set for myself about a year ago. I’ve recently read my poetry at public events, and through my work with Art Raft for Health, I have found myself standing up before funders to talk about it. But I have not found public speaking comfortable. My breathing becomes shallow. My voice goes quavery and comes from the top of my chest. I also rush and try to cram as many words as I can into the small space I feel has been allotted to me.
I know that this comes from having grown up in a society where, as a woman, I have not been given the space to speak and to be listened too. Woman who speak are labeled nags, scolds, bossy, shrill or (fill in the blank). Nor have I had much opportunity to see and hear other women taking their space to speak about what matters to them. In fact, in films female characters feature in less than 20% of speaking roles.
A friend of mine helped me to become aware of my breathing and to deepen into a place of strength and confidence when I speak before people. Talking about my art work, my ancestors and past and current issues in Indian Country gave me a reason to move into a deeper place. My copywriter husband helped me to craft my story into a concise and meaningful talk. I consider my self a pretty good writer, but writing to speak is a different bag of cats.
My talk went really well. People thanked me for my truth and honesty, and I have been asked to come and speak in a few places around Devon over the summer months. It feels really good to have set and reached a new goal.
My next goal related to being audible in public is to begin story telling and performance. There are a lot of Muscogee (Creek) tales that I would like to share. The story of Little Red Stick, a Mvskoke girl who ran away from the Removals to stay in her Homelands accompanied by Wolf and Spirit Bird continues to grow and unfold inside of me. Her story will be a live performance with spoken word, music, art work and film projection.
My very supportive and talented husband Steve Coxon has made a short video to promote my current exhibition of Muscogee inspired art work.
The first time I exhibited my art work about my Muscogee (Creek) heritage, I was shocked when someone said to me ‘You are so lucky to be part-Indian’. I wish that I had the wherewithal to ask just what she meant. The history of all indigenous people in the United States is marked by physical and cultural genocide, and land theft and we have all inherited a legacy of Historical Trauma and Unresolved Grief.
I grew up in the 1960s and 70s with a father who felt very ashamed about his Muscogee ancestry. My dad Frank was born in 1919 to my Muscogee grandmother Mattie Davis. His father Ted Schwakhofer was of Austrian-American heritage. Both of my grandparents were 16 years old. My grandfather had nothing to do with his son or the mother of his child. All that my dad received from him was his surname.
My dad said that he could understand the Muskogee language, but never learned to speak it. The White kids called him a ‘Half Breed’ and the Muscogee kids didn’t like him because he was part White. From 1920 onward, Native American children in Oklahoma were educated in the mainstream school system, where they and all of the other pupils learned that Indians were ‘savages’, although my dad used to argue with his teachers about this. My grandmother Mattie would have gone to a residential school where students were actively discouraged from speaking their native tongue by having their mouths washed out with soap, or worse.
My brother, sister and I grew up knowing we’re part-Indian, but not much more than that. My dad used to get The Muscogee Nation News delivered to our house and letters from distant relatives in Oklahoma, but by and large, he’d cut himself off from his ancestry. I grew up wearing my Muscogee heritage like a cloak of shame.
I’ve come back to working with fibre and textiles in the past several months. I’ve been studying an inspiring book by textile artist Rosie James. I took the plunge into a machine sewn portrait of my dad onto paper printed with the front page of The Muscogee Nation news from 1978.
I made a line drawing from a photograph and printed off some text to make a layout of the piece.
Then I put the front page into Photoshop and added some text directly onto the page. It is too fine to embroider onto the paper. I used a glue stick to attach a piece of cotton organdie to the back of the paper to stabilize it and keep it from ripping when I stitched the portrait. Then I machine stitched directly onto the front of the paper.
This is how it looks from the back. I had originally thought about stitching through the fabric onto the front of the paper so had traced the picture onto the cloth. It gives an interesting effect which I may explore in later work.
My Dad used to have The Muscogee Nation News delivered to our house in West Covina, California and kept them in a drawer. He’d read them at the dining table, drinking a beer, He’d say: “We’re part-Indian. We’re Creek. We’re one of the Five Civilized Tribes.”
Over the past five or so years that I’ve been on a hiatus from making fibre art, I’ve been doing a lot of reading about my Muscogee ancestry all the way back to the Mississippian period. The Muscogee, also known as the Creek Confederacy, are descendants of the Mississippian culture peoples, who flourished between 800 AD and 1600 AD. The Muscogee were a confederacy of tribes consisting of Yuchi, Koasati, Alabama, Coosa, Tuskeegee, Coweta, Cusseta, Chehaw (Chiaha), Hitchiti, Tuckabatchee, Oakfuskee, and many others.
I have been influenced by much of the artwork that has survived and been documented. I have also read many of the stories and legends which have survived orally and were collected throughout the 19th and early 20th centuries.
The Alabama Indians’ creation story tells of the beginning of things –
“Once, long ago, before the time of the oldest people,
water covered everything.
The only living creatures above the water
were some small animals and birds
who occupied a log raft
drifting about in the great ocean. . . . . . .”
I began this acrylic painting last weekend on a rainy Sunday. In the summer of 2015 I took a painting workshop led by Nocona Burgess in which we learned about painting onto a canvas primed with black gesso. I found a couple of blank black canvases recently during a studio tidy up.
One of the tips I learned from Nocona was how to mask off the canvas to get a super straight and crisp line.
I surrounded this first world with colors from the Medicine Wheel.
For my current work in progress I’m using Sennelier Oil Pastels on 250gsm mixed media paper. I love working with my fingers and how the colors can be blended.
I’m going to the art store tomorrow to get some turpentine so I can see what that does to the pastels. I also plan to pick up some more square canvases.
I suddenly have a lot of ideas and images for paintings and works on fibre waiting patiently to come out. It is as though everything I have been taking in over the past five years has had a chance to settle, find roots and is growing once again towards the light of day.