Mending our Split-Head's

I am reading excerpts from the book "Original Instructions: Indigenous Teachings for a Sustainable Future" which is a collection of works and articles with contributions from Melissa K Nelson, John Mohawk, Winona LaDuke, John Trudell, and others. In thinking about what to share as readings for my first critique next week I have decided on sharing the writing (Chapter 30, pages 288-297) "Mending the Split-Head Society with Trickster Consciousness" by Melissa K. Nelson as well as the poem by Ryan Red Corn "Bad Indians" (not related to this book at all). I am most drawn to Nelson's excerpt because she is writing about why and how Indigenous Peoples are restoring their Original Instructions in a modern context, as well as rethinking the dominant paradigm that is causing ecological and spiritual damage. She also goes into depth about the indigenous efforts of recovery, resistance, and survivance after colonial efforts at removal, relocation, assimilation, and extermination by different European, then U.S. powers. What I am gleaning from this excerpt in terms of my thought processes preceding my studio work is the ideas of coyote the 'trickster' and her discussion about 'Split-Head society.' I appreciate her description about 'trickster' consciousness and explaining the role of the trickster, coyote, which represents diverse points of view. Nelson explains: "The Trickster, the coyote, as an archetype, as a person, as a cultural hero in our oral traditions and stories, is a teacher and reminder of plurality, diversity, paradox, humor, surprise, and humility. Trickster forces us to retain an understanding of all sides of a story by revealing them to be coexisting parts of one greater whole- interconnected and indistinguishable." The last poignant aspect of this article in relation to thinking about where I come from culturally and psychologically, in entering my mental platform of jumping off to the artistic practice and studio work is the idea of Split-Head Society. Nelson writes: "Chiskasaw law expert James Sakej Henderson and others call this group the 'Split-Head Society,' in describing those who were taken to boarding school and assimilated into Eurocentric ways. He says they have retained their aboriginal souls but have been colonized with Eurocentric heads. In many ways, most of us modern mixed-blood native people are members of this Split head Society." These ideas, histories, and psychology is my background and where my personal paradigm of thought is coming from, which in turn is informing my painting and artistic practice. I am most interested in using painting and art making as a healing and informing process to understand myself, my family, tribe, and urban native communities context in a modern American society. I am focused on ways to decolonize, revitalize cultural restoration and spiritual renewal through my studio/artistic practice. I am inspired and moved by her writing, in the end of the excerpt Nelson writes: "Through the beauty, depth, and power of this ancient Salt Song cycle, the Southern Paiute and those touched by the project are experiencing a 'trickster shift.' We are transforming the tragedy of the boarding school experience into one of empowerment and intergenerational healing. We are changing poison into medicine, mending our split-heads, and recognizing our wholeness."

PSU MFA Contemporary Art Practices Program

September 24, 2012, I was accepted into the PSU MFA in Contemporary Art Practices degree program. I just finished my first day of class and moved my entire studio into the Art Building, my new home for two years.