From “One Hundred Years of Navajo Rugs” by Marion Rodee. #navajo
Young Diné for Diné Liberation
"Our generation chooses true sovereignty, and the protection of our air, land, and water. These things are not for sale and should not be corrupted. 150 years ago, our ancestors were exiled from Diné Bikéyah on the Long Walk. We honor the suffering and hardship they endured by maintaining our relationship with Nihímá Nahasdzáán and Yádilhiił, revitalizing K’é and our Diné lifeways. Today, the irresponsible decisions of the Navajo Nation government regarding energy colonization and exploitation threaten our homeland and the future of our people. Our message, Bidziil Beehaz’áanii Dinébi, is a message to the Diné people to say that we are strong and our voices do matter, regardless of how the Navajo Nation government ignores and undermines us. We must take it upon ourselves in this critical time to speak up and act to ensure a future for Diné people within our four sacred mountains.”
Window Rock, AZ
Spent a few days in the beautiful and remote community of Navajo, New Mexico. Navajo is a tiny place tucked between gigantic red rock formations and sits at the foot of Fuzzy Mountain, a sacred site where ecologically significant healing herbs and ceremonial plants are gathered. Navajo was once a booming milling town that harvested lumber from the nearby Chuska Mountains and used pristine ground water for their operations. The sawmills left behind a legacy of contaminated ground water and depleted Red Lake, along with a slew of abandoned buildings permeating with asbestos. It is here where The Fuzzy Mountain Mural Project sought to turn an abandoned recreation center into a community canvas. The large building, accompanied by an equally large pool became our island as we worked on the fiberglass roof and through daily thunderstorms.
The hummingbird represents perseverance and is a physical manifestation of a blessing. The couple in the middle is the Male and Female duality prevalent through out all aspects of Dine culture, it is the essence of life and our existence. They wear their hair in a bun (tsiyeel) showing pride in their Dine way of life. Accordingly, hair to us, as Dine, is a place for our knowledge and wisdom. To tie it in a tsiyeel means you are in control of your mind. The squash is food we grow for sustenance and the blossoms that we adorn ourselves with and the seeds of change we must plant in order to revitalize our traditional food systems as a means to assert food sovereignty, not only to counteract nutritionally related illnesses such as diabetes and obesity. The bear is sacred protector living in the Chuska Mountains and represents the need to protect our Dine way of life. The chief components of the traditional philosophy of Dine learning were included in the mural as a means to relate the Decolonization aspect to a central Dine belief. Nitsahakees is critical thinking and mental strength, it is the strategic integration of information through creativity. Nahat’a is a way of executing systematic and tactical planning that employs the development of skillful leadership. Iina is based on the quality of life by traditional Dine standards of living. Sihasin is self-awareness and assurance that life will continue if there is a sense of sensitivity regarding all living beings.
Check out my interview that aired on NPR
PHOENIX — Mixed media artist Tom Greyeyes chose to introduce himself for his interview with Fronteras Desk first in Navajo, and then in English.
“Hi, my name is Tom Greyeyes,” he said after the Navajo version. “I’m from Northern Arizona, I was born and raised in Flagstaff, Navajo Rez.”
He means he grew up between both places, Flagstaff at times, and the town of Tsegi, on the Navajo reservation, at other times. At 23, one of the topics he thinks a lot about is how Native young people of his generation straddle two worlds.
“A lot of us are sort of in this void, between traditional and then what I guess is American culture,” Greyeyes said. “And being in that void is sometimes frustrating. And there are always conflicting views, too, conflicting values.”
In a screenprint self portrait Greyeyes did in September, a man is grasping a root with his hands, as he is being lifted away.
Greyeyes’ tools of expression are diverse, ranging from wheatpastings to digital prints to spray paint.
He’s comfortable working on a large scale. He has paintings and graffiti installations that cover entire walls and appear on abandoned buildings on reservations. His whimsical sculptures of found objects stand out in barren landscapes.
Greyeyes said not all of his work is intended to be political. Some of it is abstract, and explores color and design. But within his art that makes a statement, Native identity and stereotypes seem to be among the reoccurring themes.
For the past week, he has been participating in a printmaking project with four other Native artists and graduate students at Arizona State University School of Art in the Herbergerer Institute, which will culminate in an exhibition and auction on Thursday night at the Night Gallery in Tempe. His print is a critique of Johnny Depp’s depiction of Tonto, the Lone Ranger’s Indian sidekick, in an upcoming Hollywood remake.
“It is about cultural appropriation,” Greyeyes said. “[Depp] is taking parts of Native culture and from what they originally meant and really distorting it.”
After graduating from Arizona State University’s art program last year, Greyeyes followed his girlfriend at the time to the San Carlos Apache reservation about 100 miles east of Phoenix.
“It is a very hard place to live, it is very different than my reservation,” said Greyeyes, who taught art while he was living there. “I started doing a lot of street art out there because there are a lot of abandoned, semi-burned down buildings.”
His outdoor works included a portrait of a young Native woman on a water tank and a grieving figure on the back of a deserted, blighted house.
One day he stumbled on an abandoned trailer and wanted to paint on it. He knocked on a house next door to ask permission, where he found a little girl and a woman.
“She was an older lady and she was like babysitting, and she was just drunk, it really stuck with me,” Greyeyes said. “I didn’t know how to react in a situation like that.”
It inspired his latest work, which he painted last week, and is now on exhibit at the Night Gallery. It is two-part painting that measures about 10 x 12 feet.
“The first image is a little girl, and she is sort of trapped in a 40 ounce bottle,” he said. “She is holding these little, little flowers.”
In part two, those little flowers have grown into a huge sunflower that has burst through the top of the bottle, leaving it broken. The little girl is gone.
“I am trying to insinuate that she escaped,” Greyeyes said.
The bottle represents alcohol abuse. The growing sunflowers – which grow wild on the San Carlos Apache reservation - stand for the persistence of tribal culture and values.
“Some communities, out there, especially on reservations, like the kids grow up sort of trapped in their family’s alcoholism,” Greyeyes said. “I hope they have a part of their culture, some sort of values they will kind of keep, and hopefully, it will grow and manifest into something, and get them out of situations like that when they are older.”
Losing his own cultural heritage is a theme that preoccupies Greyeyes.
“I’m very worried, my generation is very different than my dad’s generation, my parents generation,” Greyeyes said. “They are different than their grandparents, my grandparents. We are losing our traditional identity for sure.”
He says he has tried to find ways to connect to his heritage. He goes back to his family’s land and maintain a garden each summer. His brother raises horses in the way his father taught him. But he says it isn’t easy to find the right balance.
“I’ve tried to like reconnect a lot of times and sometimes I’ve failed, like horribly,” he said.
That sense of loss, though, may also be what inspires him to keep making art.
By Steven Paul Judd