Winnemem Wintu Voice
winnememwintuvoice:

We are still here, holding ceremony at our sacred places, and doing what we need to do to be Winnemem Wintu, of the McCloud River, in Northern California.
The federal government tries to erase us by calling us “unrecognized”, but we have been here long before the United States was invented, and we will be here long after it’s gone.

winnememwintuvoice:

We are still here, holding ceremony at our sacred places, and doing what we need to do to be Winnemem Wintu, of the McCloud River, in Northern California.

The federal government tries to erase us by calling us “unrecognized”, but we have been here long before the United States was invented, and we will be here long after it’s gone.

We are still here, holding ceremony at our sacred places, and doing what we need to do to be Winnemem Wintu, of the McCloud River, in Northern California.
The federal government tries to erase us by calling us “unrecognized”, but we have been here long before the United States was invented, and we will be here long after it’s gone.

We are still here, holding ceremony at our sacred places, and doing what we need to do to be Winnemem Wintu, of the McCloud River, in Northern California.

The federal government tries to erase us by calling us “unrecognized”, but we have been here long before the United States was invented, and we will be here long after it’s gone.

Chief Caleen Sisk is in Geneva to testify on the discrimination and injustice of the United States government’s “federal recognition” policies.

Oakland…  Check it out!

It’s Time to Speak Up for Salmon!
Kayla Brown, Hupa, stands with Chief Caleen Sisk, Winnemem Wintu, for Rivers and Water. The Hupa People are in a crisis situation, with a potential repeat of the 2002 salmon kill on the Klamath and Trinity Rivers. Because the Bureau of Reclamation is refusing to let enough water out of the dams, the rivers are too low and too warm, and the salmon are beginning to show signs of disease.

It’s Time to Speak Up for Salmon!

Kayla Brown, Hupa, stands with Chief Caleen Sisk, Winnemem Wintu, for Rivers and Water.

The Hupa People are in a crisis situation, with a potential repeat of the 2002 salmon kill on the Klamath and Trinity Rivers. Because the Bureau of Reclamation is refusing to let enough water out of the dams, the rivers are too low and too warm, and the salmon are beginning to show signs of disease.

The Secretary of the Interior on Wednesday decided against releasing water down the Trinity River to ensure the survival of the salmon runs expected this month.  The virtual trickle of water is low, too warm, and clogged with moss, while corporate farms in California’s Central Valley are receiving the government subsidized water.  The people of the Hoopa Valley Tribe and Yurok Tribe on the Trinity-Klamath Rivers are very worried that they will face another massive fish kill, as happened in 2002 under the same conditions.

The Secretary of the Interior on Wednesday decided against releasing water down the Trinity River to ensure the survival of the salmon runs expected this month.  The virtual trickle of water is low, too warm, and clogged with moss, while corporate farms in California’s Central Valley are receiving the government subsidized water.  The people of the Hoopa Valley Tribe and Yurok Tribe on the Trinity-Klamath Rivers are very worried that they will face another massive fish kill, as happened in 2002 under the same conditions.

winnememwintuvoice:

Make Strong (Shasta Dam version)

Hawai’ian singer/songwriter Hawane Rios shared this beautiful song during her visit to McCloud River country, and she gave us permission to use it to oppose the raising of Shasta Dam.

On Hawane’s Hawai’i Island her people are standing against the desecration of their sacred mountain, Mauna Kea, by the planned construction of an 18-story telescope.

– Music by Hawane Rios
– Video by Will Doolittle

Artist Satement:
“Make Strong” was written in honor of all the people around the world who are choosing to stand up for what they believe in positivity and love. “Make Strong” was inspired by the words of Papa Mau Pialug, who taught us how to voyage again, “make strong like a mountain”. It is my tribute to the Winnemem Wintu and their journey to protect their ceremonial sites.
– na Hāwane

Help to stop the Shasta Dam Raise:
shastadamraise.com

Help to protect, Mauna Kea, sacred mountain on Hawai’i Island:
KAHEA.org

More Music by Hawane:
reverbnation.com

Follow Hawane:
Facebook: Hawane Rios
Twitter: @hawanemusic
Tumblr: hawanemusic
iTunes: hawane-rios

— San Francisco —Water, Land & Cultural Survival  —  BenefitWinnemem Wintu — Chochenyo OhloneSpecial Guest Artist: Hawane RiosFilms: Beyond Recognition  |  Standing on Sacred Ground–Pilgrims & Tourists Saturday, August 2ndsSpeakers:Corrina Gould, Chochenyo Ohlone   |   Chief Caleen Sisk, Winnemem Wintu

— San Francisco —

Water, Land & Cultural Survival  — Benefit
Winnemem Wintu — Chochenyo Ohlone
Special Guest Artist: Hawane Rios
Films:

B
eyond Recognition  |  Standing on Sacred Ground–Pilgrims & Tourists
Saturday, August 2nd
s
Speakers:
Corrina Gould, Chochenyo Ohlone   |   Chief Caleen Sisk, Winnemem Wintu

CALIFORNIA RESIDENTS

Deadline Monday: Take a moment to make your feelings known!
Tell Governor Brown to BAN FRACKING NOW.

Governor Brown has proposed a revised draft of his terrible fracking regulations, which continue to greenlight expanded oil fracking in California — ignoring the more than 100,000 public comments calling for a ban on fracking that Californians submitted on the last draft of the regulations.
On July 7, Brown’s administration was forced to shut down 11 oil and gas waste injection sites over fears that they are contaminating drinking water in the Central Valley with fracking chemicals.

kaila-farrell-smith:

Kaila Farrell-Smith
TAKTAKL’ I  G’ EE LA (Red Earth, Klamath)
Oil paint, oil ground, wax crayons & spray paint on 6 (18” x 24”) wood panels on 12 ft. Red Cedar Shelf, 2014.
Installation at ROCKSBOXCONTEMPORARYFINEART Gallery June 2014.
CADRE PSU MFA in Contemporary Art Practices Graduates group show
Exhibit/Room Title:

 TAKTAKL’I

 Exhibit Statement:


Two seasons ago HéyÓka appeared at my camp.  We were lit by the red emerging from the ceremonial fire and there I learned about Trickster and the sacred jester of opposite. HéyÓka told me stories about the kettle ceremony where he got his medicine and then he spun his thunder stick and during the third round on the third day the rain came in rich storm clouds braking the thickness of heat and it poured down on the Sundancers.   I glimpsed powerful temporalities only perceived by HéyÓka and the boundaries of the stone people opened for his medicine to pass through. When I closed my eyes at the cedar draped arbor HéyÓka’s face was staring at me, upside down, yet right side up and masked.  HéyÓka was staring at my spirit, at the place where my spirit resides and I was singing. Then, when I opened my eyes HéyÓka was gone and my consciousness was impregnated with fascination for this entity of contrary’ Ness[1].

The painting and sculptural installations of TAKTAKL’ I explore Indigenous interpretations of TAKTAKL’ I (Klamath or Mak’ Lak word for Red) in an effort to reclaim shifting postcolonial spaces. Two paradigms are bridged when traditional materials imbued with spiritual and functional meaning meet techniques hi-jacked from western european-north american art histories.  The dichotomies represented by traditional American Indian art forms and western influenced mark making stimulate dialogue within an Indigenous: settler/colonizers binary[2], making transparent violent, beautiful, and complicated legacies. Contemplating the idea of TAKTAKL’I first from an Indigenous paradigm and then through a western gaze, allows this problematic binary to emerge, illuminating the contrary nature of these conflicting worldviews.
The source material that inspires Kaila Farrell-Smith’s work references contemporary Indigenous gaps of knowledge due to legacies of cultural genocide and colonialism, such as loss of languages and displacement from ancestral homelands. Kaila Farrell-Smith evolves visual languages that communicate past essentialist notions of pan-native americanisms, by bridging Indigenous knowledge and perpetuating cultural art forms and meaning. Employing both the deconstruction and reconstruction of language, mark’s and color function as contextualization of visual disharmony, erasure, defacement, and violent disruptions, that pair and transform into passages of balance and zones of refuge. 

[1] Using the capitalized [’Ness] is a reference to Eduardo Duran’s writing, which imbues a sense of “humanness” to terms, objects, spaces that are not regarded as incarnate in a western paradigm.


[2] Term comes from the essay: Smith, Andrea. “Indigeneity, Settler Colonialism, White Supremacy.” GLOBAL DIALOGUE Volume 12, Number 2. Summer/Autumn 2010, Race and Racisms. Print. Page 5.





Welcome to Tumblr Kaila Farrell-Smith!

kaila-farrell-smith:

Kaila Farrell-Smith

TAKTAKL’ I  G’ EE LA (Red Earth, Klamath)

Oil paint, oil ground, wax crayons & spray paint on 6 (18” x 24”) wood panels on 12 ft. Red Cedar Shelf, 2014.

Installation at ROCKSBOXCONTEMPORARYFINEART Gallery June 2014.

CADRE PSU MFA in Contemporary Art Practices Graduates group show

Exhibit/Room Title:

 TAKTAKL’I

 Exhibit Statement:

Two seasons ago HéyÓka appeared at my camp.  We were lit by the red emerging from the ceremonial fire and there I learned about Trickster and the sacred jester of opposite. HéyÓka told me stories about the kettle ceremony where he got his medicine and then he spun his thunder stick and during the third round on the third day the rain came in rich storm clouds braking the thickness of heat and it poured down on the Sundancers.   I glimpsed powerful temporalities only perceived by HéyÓka and the boundaries of the stone people opened for his medicine to pass through. When I closed my eyes at the cedar draped arbor HéyÓka’s face was staring at me, upside down, yet right side up and masked.  HéyÓka was staring at my spirit, at the place where my spirit resides and I was singing. Then, when I opened my eyes HéyÓka was gone and my consciousness was impregnated with fascination for this entity of contrary’ Ness[1].

The painting and sculptural installations of TAKTAKL’ I explore Indigenous interpretations of TAKTAKL’ I (Klamath or Mak’ Lak word for Red) in an effort to reclaim shifting postcolonial spaces. Two paradigms are bridged when traditional materials imbued with spiritual and functional meaning meet techniques hi-jacked from western european-north american art histories.  The dichotomies represented by traditional American Indian art forms and western influenced mark making stimulate dialogue within an Indigenous: settler/colonizers binary[2], making transparent violent, beautiful, and complicated legacies. Contemplating the idea of TAKTAKL’I first from an Indigenous paradigm and then through a western gaze, allows this problematic binary to emerge, illuminating the contrary nature of these conflicting worldviews.

The source material that inspires Kaila Farrell-Smith’s work references contemporary Indigenous gaps of knowledge due to legacies of cultural genocide and colonialism, such as loss of languages and displacement from ancestral homelands. Kaila Farrell-Smith evolves visual languages that communicate past essentialist notions of pan-native americanisms, by bridging Indigenous knowledge and perpetuating cultural art forms and meaning. Employing both the deconstruction and reconstruction of language, mark’s and color function as contextualization of visual disharmony, erasure, defacement, and violent disruptions, that pair and transform into passages of balance and zones of refuge.



[1] Using the capitalized [’Ness] is a reference to Eduardo Duran’s writing, which imbues a sense of “humanness” to terms, objects, spaces that are not regarded as incarnate in a western paradigm.

[2] Term comes from the essay: Smith, Andrea. “Indigeneity, Settler Colonialism, White Supremacy.” GLOBAL DIALOGUE Volume 12, Number 2. Summer/Autumn 2010, Race and Racisms. Print. Page 5.

Welcome to Tumblr Kaila Farrell-Smith!

winnememwintuvoice:

Don’t Drown Our Culture!

The latest video, sharing what will be lost if Shasta Dam is raised.
PLEASE SHARE, and TAKE ACTION.
Let your federal legislators know that they should “Oppose the Plan to Raise Shasta Dam!”

In case you missed this the first time.

Don’t Drown Our Culture!

The latest video, sharing what will be lost if Shasta Dam is raised.
PLEASE SHARE, and TAKE ACTION.
Let your federal legislators know that they should “Oppose the Plan to Raise Shasta Dam!”

Pua Case, representing for Indigenous Hawai’i!

Pua Case, representing for Indigenous Hawai’i!

What does Indigenous sovereignty look like?  Here’s one way it’s done…

http://unistotencamp.com/

save-wiyabi-project:

Frank Waln addressing rape culture & male responsibility.

save-wiyabi-project:

Frank Waln addressing rape culture & male responsibility.