I write this post from Alameda, California; land that was cared for and inhabited by the Ohlone people. I remember their connection to this land and give thanks for the opportunity to have lived here for many years. I would like to take a moment and give pause in solidarity to the Ohlone generations, past, present, and future.
Note: all quotations taken from the artists were written down to the best of my ability and may not reflect their exact words or sequence.
On a recent trip back to visit my parents in Maryland, I asked my friend Anjuli for an appointment that would support her new acupuncture practice in Rockville. After the acupuncture session in the delightful yurt she and her family built in their backyard, she suggested that we spend the following day together at a new expansion of the Kennedy Center. Without further research, I agreed – I was happy to be invited to go on a DC adventure with her. When I mentioned these plans to my grandpa, his eyes lit up, and he went to grab the Weekend section of the Washington Post that had a full spread detailing the month-long Kennedy Center expansion opening with curated events for each day. The architectural designer inside me became eager to see the design of the space and also very interested in experiencing the stimulating lineup of events that day which were planned to celebrate indigenous artists and the traditions they are working hard to preserve.
On our way into DC, Anjuli suggested visiting the Bishop’s Garden that is adjacent to the National Cathedral. It was the perfect nature escape that I needed to set the tone for the rest of the day. We descended into the magically landscaped garden – complete with a stone pergola, water features, old Oak trees, and (best of all) wonderfully lush, green grass! I realized how much living in California has made me miss the undulating droning of cicadas, pleasantly dense grass under my bare feet, and greenery everywhere! Anjuli took a light nap against an old tree while I started to journal, but I ended up lying on my back to take in the delicious day and to stare through the tree’s upper branches.
Visiting the John F. Kennedy Center for the Performing Arts brought back many fond memories. My grandparents used to bring us here as a special treat – to see performances like Cats, The Nutcracker, and Swan Lake. The best part of attending the ballet or the National Symphony Orchestra was being a part of the buzz in such a grand space – where everyone is wearing their favorite fancy clothes, full from a nice dinner, and experiencing the excitement that builds right before the curtains open and the entire audience goes quiet.
The new addition at the Kennedy Center is called The REACH, and was awarded to Steven Holl Architects in 2013. Holl’s design is incredible in that it elevates the grandeur of the original center while propelling it into the current century. The design is comprised of a campus of buildings poking out of the landscaping in a seamless and provocative series of brushstrokes. The goal of the new expansion is to include more of the surrounding community of Washington D.C., providing a “backstage” that is more accessible to the public with workshops, a large lawn for outdoor concerts, intimate lecture halls, classrooms, a delightful café, reflecting pools, artwork, and a grove of ginkgo trees.
We entered through the parking garage, up to the lobby, and out onto the marble clad courtyard overlooking the Potomac River. The interior halls, which I remember from childhood as unimaginably cavernous, remain so – even though I’m significantly taller than on previous visits. We then started to get a glimpse of the new campus. The entrance to the main artery of the outdoor space sloped down closer to the parkway, and a gorgeous bridge peeled off from The REACH grounds and extended down to the bank of the Potomac – a physical and symbolic solution to a much needed connection. The cantilevered pathway seemed to hug the new buildings in a way that made us excited for what lay around the next bend. We arrived just in time to hear Rose Powhatan wrapping up the end of her storytelling session. She pointed to the totem poles that she and her husband carved (pictured below). The reflecting pool next to where she stood was a lovely nod to The National Mall and worked well as a centerpiece between some of the more organic shapes of the built structures.
The lecture hall was named Justice Forum and seemed to have deeply intuitive proportions – it was a beautiful intimate space with distinctive “crinkled” concrete walls and cherry wood ceilings. Justice Forum was named for one of the five principles that Kennedy fought for and was a wonderful setting for learning about indigenous leaders in the arts in North America and Australia.
The first panel of indigenous artists was incredibly inspiring. Amrita Hepi, Ty Defoe, and David Williams shared the most vulnerable parts of themselves through videos of their dance, theater and music, including David playing his digeridoo live (REACH). Christopher K. Morgan, the captivating moderator, opened with a beautiful welcome chant sharing his traditional Hawaiian customs.
For the artists on the panel, expressing themselves through dance and music is one of the best ways to bring their long lineage of traditions into the future. For Ty Defoe, his artistic practice is a powerful way to connect with the indigenous youth in his community. Part of the Two-Spirit community[1], this aspect of Ty’s identify also informs his work. In addition to working with youth, Ty maintains a strong and fun relationship with elders. Currently living in Australia, and from Bundjulung (Aus) and Ngāpuhi (NZ) territories, Amrita Hepi spoke of the huge weight indigenous children carry on their shoulders, “indigenous children have a responsibility to preserve their language and the earth, but my hope is that they will also enjoy themselves in a way that won’t flatten them.” She lamented that, in many settings, indigenous peoples are not recognized or valued unless they are in traditional dress. “We’ve been here 60,000 years, what do the next 60,000 years look like?”
[1] “Though Two Spirit may now be included in the umbrella of LGBTQ, The term "Two Spirit" does not simply mean someone who is a Native American/Alaska Native and gay.
Traditionally, Native American two spirit people were male, female, and sometimes intersexed individuals who combined activities of both men and women with traits unique to their status as two spirit people. In most tribes, they were considered neither men nor women; they occupied a distinct, alternative gender status. In tribes where two spirit males and females were referred to with the same term, this status amounted to a third gender. In other cases, two spirit females were referred to with a distinct term and, therefore, constituted a fourth gender (Two).”
Christopher supported Amrita’s point, sharing a paraphrased quote from Tlingit writer Ernestine Hayes, “modern life and amenities would still exist without colonization; paved roads, air travel, computers, etc., but it would have the values of Native and Indigenous people underpinning it all.”[2] Ty Defoe furthered the thought, connecting to his experience and thinking for future generations: “I grew up [during] language revival and how it related to food, dance… it taught me everything is connected… and that if you’re not dreaming seven generations ahead, you’re not dreaming big enough.”
David added, “Some of what has happened to indigenous people has made it difficult to dream big. It’s in our DNA to dream big, but that has been diminished… It’s hard traveling the world with my art.”
Amrita’s video of her dance and the provocative nature that comes with being fully present in your body was a huge “aha” moment for the crowd. “You are born with a political body whether or not you choose to identify that way.” She sees the body as a form of ultimate resistance. “I truly believe that everything on my body, from how my nails grow, my hair… comes from a long line of resistance within my family. As much resistance as it is embrace – it’s culminated to where I am now. How do we take [our identity] on with brilliance and spectacle?”
David regaled progress in recent economic independence in Australia. “We (indigenous people) are now better able to participate in the local economy.” There are high levels of unemployment among indigenous group of people. However, an important thing to note is that “indigenous run businesses employ other indigenous people at appropriate levels.”
Christopher: How do we shape our own futures? How do you define success for yourself?
David responded, “I know I’ve reached success when I feel it within my own community. It’s how we are connected – their acceptance and support.” Ty recounted a recent encounter where, after a show, someone came up and grabbed his hoop after his performance. They were so moved by his storytelling he gifted the hoop to them. For him, claiming his community is just as important as the community claiming him. Amrita replied, “Success is always shifting.” It’s important for her to have a good balance and still get to see her family; “being able to investigate everything [she’s] interested in doing” is a good indication of success. As someone that has fallen many times, I respected her honesty in her next explanation, “Success is being able to be in the multiplicity of everything… To be able to fail with grace, which is especially hard in the arts…it takes multiple amounts of failure.”
Christopher: What would you tell native youth to do today?
Ty quickly responded with a sly grin, “Cause as much trouble as possible.” After a second thought, he added, “ask the question ‘why?’ It’s another way of decolonizing – we are always living in concert and chaos.” Elaborating, he said, “Curiosity is the mark of intelligence… to give them hell but ask the questions.”
David added sagely, “be bold; but do it respectfully.”
Audience member: How do you stay connected when you’re on the road so much?
Amrita laughed and confessed she spends a lot of time on Facebook, but also enjoys weaving or other crafts that connect her to her community. Ty spoke lovingly of the Two Spirit community that he is a part of, and how the elders are always watching him - and his shenanigans.
Audience member: How do you keep joy with what’s happening to the planet?
Amrita was honest and confessed, “Sometimes I don’t.” The good news is, “[the planet] is shifting so we can too.” Ty and David agreed that there’s still something in the act of doing. Ty chimed in, “everything in history class you learned – even in the lower 48 was a lie.” He referenced how Turtle Island (North America) has historical amnesia, and how part of addressing climate justice involves decolonizing things that were placed on indigenous people.
Audience member: How can everyday people support the long and powerful legacies of indigenous people?
The artists were completely blown away by this question, as well as by the young age of the person who asked it. The moderator gave her the mic to turn and face the crowd to repeat the question. The panelists agreed that land acknowledgement is hugely important for every meeting and to honor the peoples that once inhabited that land prior to colonization. They also pointed out that we each need to find our place and how we fit into that fabric – how to connect the personal to the universal is key. Ty chimed in there are great online resources to support your own research. And while research is helpful, it’s even more important to connect with people directly. David said “lots of reading and asking questions. Do your research. Connect with whose land you’re on.” Amrita encouraged the audience to invite native speakers to events, but to also be patient with them. She explained that they might not accept right away because they don’t know you, but to extend the invitation several times for them to warm up to you.
Audience member: How, as artists, do we avoid whitewashing? How do we keep the resistance in our hands when colonizers often purchase resistance?
The earnestness, fear, hurt, and hope in the audience member asking the question once again shocked and delighted the panel. The question hung in the air with perceptible weight - in an establishment such as the Kennedy Center, which has built its legacy on performances aimed towards predominately white audiences, the artists knew precisely what this audience member was asking. Amrita agreed with his points of capitalism encouraging the commodification of authentic soul-filled art from people of color and mused, “Where do you place your integrity in that?” [Under the white gaze], where at the scale of commodification/capitalism are you willing to draw the line?” Getting more energized, the moderator turned to face the audience and said “It’s important to remember ultimately institutions are made of people. I believe deep and lasting change requires people working in a range of ways, both within and outside of institutions. It takes people who can infiltrate those institutions and work from inside of it, AND it takes people on the outside working to effect change, including people who are willing to blow things up!.”
[2] Excerpt from What Shall We Do With Our Heroes by Ernestine Hayes: “We do well to remind ourselves that had the colonial invasion not taken place, Indigenous people would still be living in the twenty-first century. Our lives would still be modern. Paved roads, airports, and electricity would still occur. Some things would be different. We would all be speaking our own languages. Our children would be receiving educations meant to lead to their success. We would not be so vulnerable to incarceration, alcoholism, poverty. We would be healthy (Hayes)”. We would all be speaking our own languages. Our children would be receiving educations meant to lead to their success. We would not be so vulnerable to incarceration, alcoholism, poverty. We would be healthy.
We walked around the main building and took in all of the architectural details. The large curve throughout the lower lobby created the perfect backdrop for rotating art exhibits. Even the stairs tucked away from the main circulation had an allure to them with the playfulness in varying layers of translucency. I began to notice a motif throughout the space – the shape of an “L” was replicated many times that seemed to derive from the proportion of one rise and one run of the stair. I saw it in the bench outside the lecture hall, details around the adjacent reflecting pool, and even down to the custom door hinges.
The next panel of artists was a group of male artists that are pushing the boundaries of past and present through diverse mediums. The three Native American artists, Steven Paul Judd (Choctaw/Kiowa), Frank Buffalo Hyde (Onondaga/Nez Perce), and Virgil Ortiz (Cochiti Pueblo) shared their complicated relationship with society and where their perspective fits into the fold. Their work reflected modern life and pop culture, sometimes ironically, sometimes with an interesting nod to incorporate it. The topics also ranged from land, self, oppression, and inspiration. The ideas discussed were incredibly layered – and –proved that context is everything.
Frank brought up a good point that there should not be a distinction between art and native art. “What’s more American than natives?” he mused. He has no problem using pop culture in his pieces because native culture has been consistently appropriated from for centuries. “Even if I do get in trouble it will be great publicity,” he chuckled.
Some of the challenges they want to see addressed are getting paid what they’re worth, getting more work in non-native museums, and having their art not seen as crafts.
The stories Virgil Ortiz told about his journey with pueblo pottery as a child were quite beautiful. He started painting intricate patterns and figures that the villages’ buyer recognized. They took a road trip to Albuquerque where the buyer showed Virgil and his parents replicas of the same designs – but they were hundreds of years older than the young artists’ pieces. With this newfound affirmation of his life’s’ purpose, he continued to hone his craft and eventually branched out into graphic design, film, fashion, and a jaw dropping collaboration with Donna Karen (ABOUT). His young apprentice was in the audience, and it was sweet hearing him talk about their instinctive working relationship and the importance of paying it forward.
We wandered around the grounds a bit more and enjoyed the midafternoon droning of the happy insects buzzing around the native landscaping. By the time the ceramics demonstration came around, I knew it was getting to be time to make my way back to the Metro and my mom’s cooking in Rockville, but we were so perfectly situated at the café (the River Pavilion), that we stayed to watch the unique glimpse into Virgil’s process. As he started working the clay, he talked about the process of Pueblo pottery, and how it dates back centuries. Finding the right spot for the virgin clay is just as important as getting the correct ratios of earth, water, and fire.
The day was filled to the brim with exciting new outlooks and so much to ponder. The REACH seems to have their work cut out for them with involving the community in the process of performances. From what I witnessed, the well-curated line-up of events and the expansion were both great steps in the right direction. The quotes I have reflected on the most since then were Amrita’s quotes – the one about her very body being an act of resistance and the one about what architecture and infrastructure would look like today if colonization and late-stage capitalism had never happened. Would the Kennedy Center need to exist in such a world, and what would it look like?
Works Cited
“ABOUT VO.” Virgil Ortiz Creations, virgilortiz.com/about-vo/.
Hayes, Ernestine. “What Shall We Do With Our Heroes?” Ernestine Hayes, Author, Juneau,
Ernestine Hayes, Author, Juneau, 8 Oct. 2017, www.ernestinehayes.com/single-post/2017/10/08/What-Shall-We-Do-With-Our-Heroes.
“The REACH Opening Festival at the Kennedy Center.” Panel: Native Artists in the Performing...,
kennedycenter.sched.com/event/Slhc/panel-native-artists-in-the-performing-arts.
“Two Spirit: Health Resources.” Lesbian, Gay, Bisexual and Transgender Health, U.S. Department of
Health and Human Services, www.ihs.gov/lgbt/health/twospirit/.
