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Contents July/August 2019

Welcome to the Issue 003








check out what’s in this month’s issue see what it took to create the cover welcome to the issue

who’s all on our team

The Edge







it’s a hot summer out there as ACONAV takes cues from the warm, breezy days with flowy dresses that almost serve as air-conditioners during the summer season as they don’t stick or cling although artist and jewelry designer Lori Tapahonso has been making jewelry for only seven years, the quality and craftsmanship of her pieces led us to believe she’s been designing for decades

The Insider 017


Kelly Holmes recently had the pleasure of stopping by Federal Coffee in Denver, CO to interview indigenous boss babe Sonia Rosas



nothing beats an amazing marketplace in the summertime. Indian Country is home to many marketplaces, but two standout places to shop are Bison Star Naturals’ Outdoor Marketplace and Indigenous Marketplace San Diego







the artwork of Diné graphic designers and entrepreneurs Jacintha “Jay” Stanley and Crystal Dugi are not only eye-catching and vibrant; they’re also visionary now a master beader, Brodie Sanchez came from humble beginnings

Janelle Cronin is one courageous woman who is speaking out through education and activism through the arts while doing it all with grace

Features 029




we feature visionary designer Loren Aragon and his brand’s thoughts on what the future of indigenous fashion looks like

Behind the Cover

Behind the Cover: The Native Max team and models certainly had a blast with this shoot. Titled Alien Queens, the theme of the photoshoot was futuristic. The photoshoot was photographed by Viki Eagle. Models Kayah Mangan, Michaela Iron Shell and Kelly Holmes wore designs from ACONAV’s The Forthcoming collection, an exclusive collection Loren Aragon and team created just for Indigenous Pop X Denver. Makeup and hair was provided by Jaleesa Greybull, who used vibrant colors and a lot of liner for the looks. Check out more BTS photos from the cover shoot online at NATIVEMAX.COM!



Shop Native Max Mags, Merch & More nativemax.com/shop nativemax.com


Welcome to the Issue

We featured two indigenousowned marketplaces where you can shop goods, products and designs by indigenous entrepreneurs.

We hosted a photoshoot in Denver, CO which included new pieces from ACONAV’s exclusive collection The Forthcoming.

Federal Coffee co-owner and indigenous boss babe Sonia Rosas with her young daughter.

Welcome to the Issue!


elcome to the Indigenous Futurisms issue of Native Max Magazine! In this issue, we not only feature several talented individuals, but we focus on a few who are looking ahead with their skills. Thanks to the internet and social media, you can shop for indigenous-made products, goods, and designs from anywhere in the world. However, it’s an indescribable experience to be able to explore and purchase from an indigenous person physically. We featured two indigenous-owned marketplaces throughout Indian Country: Bison Star Naturals’ Marketplace in Taos, NM and Indigenous Marketplace San Diego in San Diego, CA. We stopped in at Federal Coffee to interview indigenous boss babe and co-owner of the coffee shop Sonia Rosas. We are massive admirers of Rosas and her story. Not only has she dealt with the loss of her mother, but she had to decide on what to do with her mother’s

tienda de vitaminas [vitamin store] while grieving her loss. Now, her coffee shop is thriving in the very same place of her family’s business in a neighborhood that consistently falls victim to gentrification. Perhaps most impressive is that she’s a brown woman who wants to make her coffeehouse feel comfortable and welcoming for all brown people. And lastly, we had fun putting the spotlight on the future of indigenous fashion with ACONAV. Indigenous fashion is evolving and expanding. But we always find ourselves admiring the history of it by drawing connections between a fashion designer’s culture and how their tribe’s traditional art methods influence their designs. Seldom do we explore what the future of indigenous fashion will become. So we decided to sit down with ACONAV’s co-founder and designer Loren Aragon to talk about his take on the future of indigenous futurism. nativemax.com


KELLY HOLMES Founder @kellycamilleholmes Executive Assistant Tatiana Ybarra EDITORIAL Managing Editor Jacqueline Lina Brixey Staff Writer Rhonda “Tree” Mangan Staff Writer Johnnie Morris Staff Writer Kelly Bedoni CREATIVE Creative Director E-’cho Martin Director of Photography Zoe Friday Videographer Joey Little Bird Web Director Celeste Terry Staff Photographer Viki Eagle

Copyright Native Max & Other Media Ventures All rights reserved. All material in Native Max Magazine is wholly copyright and reproduction without the the written permission of the Publisher is strictly forbidden. Neither this publication nor its contents constitute an explicit endorsement by Native Max of the products or services mentioned in advertising or editorial content. Whilst every effort has been made to ensure accuracy, Native Max shall not have any liability for errors or omissions. We've done our best to acknowledge all photographers. In some instances photos have been provided to us by those who appear editorially and we have their permission in each case to use the images. We apologize if anything appears incorrectly. It will be a genuine mistake. Please let us know and we can give you a mention in the next issue.



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Follow us on Pinterest for ideas, advice & inspiration JULY/AUGUST 2019 | NATIVE MAX MAGAZINE 7



The Edge

Summer in the Big City It’s a hot summer out there as ACONAV takes cues from the warm, breezy days with flowy dresses that almost serve as air-conditioners during the summer season as they don’t stick or cling.

Photography by Zoe Friday

Model Chloe Doctor (Mohawk) in an ACONAV dress, $800, aconav.com




The Edge

Model Kayah Mangan (Diné) in an ACONAV dress, $550, aconav. com



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Model Doctor in an ACONAV dress, $125, aconav.com



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Model Mangan in an ACONAV dress, $275, aconav.com



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Model Doctor in an ACONAV dress, $560, aconav.com



The Edge

Artist Profile

Love Adorned W

hen I first met Lori Tapahonso in Lawrence, Kansas, I felt like we had known each other forever. We would have long conversations, and I would walk away seeing things in a different light, feeling happy and content. I recall seeing a pair of her beautiful earrings, and it called out to me. At the time, I was in college and had very little money, but I had to have them. I pulled out my quarters which were supposed to be used for laundry and bought them. To this day, they are still my favorite, and I feel amazing and beautiful in them like they were made just for me. That is what Tapahonso wants with each piece she makes. She said, “It’s important for my buyers to feel like their selection is as special and unique as they are.” Not only is her style exclusive, but she takes great pride in her creations. “Each piece is unique and one-of-a-kind and comes from my heart.” Tell us a little bit about yourself and your background I’m a mother, wife, daughter, sister, teacher, an actor, and an artist. My maternal clan is Salt Water. My paternal clan is Salt People and Acoma Pueblo Eagle Clan. My maternal grandfather is the Bitter Water clan. My paternal grandfather is the Mexican Clan and the Acoma Pueblo Eagle Clan. This is how I am known as a Navajo and Acoma Pueblo woman. We are a matrilineal society, so our mother’s clans are carried forward. This introduction is essential because it lets others know what my father’s and grandfather’s clans are and honors my family by allowing me to carry them with me in life. I currently live in the homelands of the Kalapuya people of the Pacific Northwest in Eugene, Oregon. I was born in Shiprock, New Mexico in the four corners region of the US. This is the place I will always call home and a place that influences my daily life and especially my art. I also called Lawrence, KS, home of Haskell Indian Nations University home for more than 25 years. My jewelry art was born there in 2012. How did you begin making your jewelry? 14 NATIVE MAX MAGAZINE | JULY/AUGUST 2019

It feels like it was so long ago, but it was only a mere seven years ago. My mother was doing some spring cleaning and gave me two plastic craft boxes filled with stones, beads, wires, clasps, and earring hooks. She said she hadn’t made jewelry in a long time and thought I might like to try. I later learned that my grandmother was also a jeweler. She made necklaces, earrings, and did some silver work. The boxes sat on a shelf for a few years before I ever opened them. Once I did, there was no turning back. I taught myself the basics with a lot of trial and error. I slowly increased my jewelry. If there was a look that I wanted to achieve, I’d find photos or videos online that would teach me. I’d work with a design until it matched what I imagined. From the beginning, I also found ways to reuse materials. My mom’s box of supplies had partially made pieces that I reused in my new pieces. That is still my style and method. Today, I make several pieces with recycled or repurposed antiques, broken jewelry, or one-sided earrings. Friends will give me bags of old jewelry to reuse. I find joy in making something old and unwanted into something new and alive again. My jewelry collections include earrings, necklaces, cuffs, and rings that offer a unique fusion of contemporary, bohemian, and modern from a Native perspective. By this, I mean that my work is always reminiscent of who I am, but also has mainstream flavor. I still use natural materials like turquoise stones, coral, jet, and shells, and will perhaps pair them with salvaged 1920’s jewelry that I turn into earrings. I find an exciting challenge in indigenizing the mainstream. Each piece is unique, and one-of-a-kind and comes from my heart. If I have requests to remake a piece, they will be similar, but still, have elements that make them slightly different. My buyers need to feel like their selection is as special and unique as they are.


Although Eugene, Oregon-based but Shiprock, New Mexico-born artist and jewelry designer Lori Tapahonso has been making jewelry for only seven years, the quality and craftsmanship of her pieces led us to believe she’s been designing for decades. Native Max writer Tree Mangan (Diné) talks with Tapahonso in this exclusive interview.

Who inspires your work, and what does it aim to say? I come from a family of creators. My whole famnativemax.com

The Edge ily inspires me to push my boundaries on my creations. In the beginning, it was my daughters, Chamisa and Briana Edmo, and my niece, Landri James that were my unintentional biggest supporters. They were the reason I began making jewelry. I’d make enough pieces based on their various styles and personalities, that by the time Christmas came around, I’d have a small stockpile. I would then hang them around the house where they could browse and pick their favorites as my Christmas present to each of them. They always loved their gifts. It was my daughters that urged me to “take my jewelry public.” They would tell me that when they wore my designs, friends would ask where they got them. I would laugh and dismiss it as them being my #1 fans. One day, my daughter told me that she had something to show me. She opened up Etsy and gave me my sign-in info. She said my store was up and running; all I needed to do was post the goods. With her help, I posted my first few earring pieces. I sold out within a week. I was in disbelief. It’s been such a fantastic journey over the last seven years. In it all, my family are my biggest cheerleaders. They are always influencing how I see jewelry design. My daughters and niece are now grown and in the world. They are all amazing young women and have entirely different styles. They continue to influence how I create new pieces. When I travel to pow wows and art shows to show and sell my jewelry, I love to talk with the men and women who purchase my jewelry. Many will try on, walk away, only to come back because they couldn’t stop thinking about the piece they tried on. I believe folks who connect with my work do so because they feel the love in every piece. They feel the life, and many times new life each piece exudes. When they try on my jewelry, I want them to feel adorned with the love I’ve put into my work; thus, my business name, Love Adorned by Lori Tazbah. What does your art do for you? My art has been healing in so many ways for me. In the beginning, it was so frustrating to learn how to do the basics. There were days (and there still are) where I would have to walk away because I was at my wit’s end. As I became more adept with jewelry making, I found another natural obstacle: perfection. By my nature, I’m a perfectionist. I’ve had a background in public relations and event planning. You have to strive to be as near to perfection as you can; a mistake can end your career. I have gravitated towards my career choices because I’m sure I was born a perfectionist. In my jewelry journey, I have learned one thing: handmade jewelry can not be perfect. This was something that I had a hard time coming to terms with. But, as I did, my own life began to change. I learned to be ok with two natural stones, not looking exactly alike. I learned to allow the twists of wire to be similar, but not exact. I learned to let it go when it felt right; to be ok with mistakes. Handmade jewelry should emulate life: beautiful, but perfectly imperfect. My jewelry has influenced how I see the world. In my life, mistakes are easier to handle. I bounce back quicker from a set-back. I believe that any creative venture that someone finds passion in can do the same for them, as well. Learn to play an instrument, learn to draw, make pottery, take up gardening. Do anything that will nativemax.com

help you deal with the stress of this world. In that, you’ll become a better citizen of this world for your community and family. How do you propagate your work? I am a “boots on the ground” kind of woman. I love to travel during my weekends and summers to pow wows and art shows between Kansas, New Mexico, Arizona, and now Oregon and Washington. While I prefer to sell in person, I also have been honored to have my art sold in stores in Kansas and at the Institute of American Indian Arts Museum Store in Santa Fe. I have a vibrant Facebook community around my #LoveAdornedByLT page that allows me to share new designs and also where folks can buy directly from me online. Any advice to young artists? It’s tough to decide to sell your work. There’s a lot that goes into that decision. There is the vulnerability of putting your creations out there for critique by strangers. There is the price factor— the cost of buying supplies needed to sell your artwork. Then there is the extra step – how to make your selling space appealing? The imaging of your vision, or your brand, is that wow factor that will draw people to your space. All of this can seem overwhelming and seem a lot, but it doesn’t have to. I’ve helped several other artists flesh out their vending dreams. I always tell them to start with the question, “what would make me stop at an art stand?” From there, think of the colors that make you happy. Continue building from there. A lot of folks tend to go directly to big box stores for their jewelry tags or the packaging supplies. Retail stores sell for retail prices and can cut you short before you even begin. It’s always best to use jewelry suppliers either in person or online. For my fellow jewelers, the prices of real stones and quality beads are much less at notable suppliers than from big box stores. And you just can’t beat the quality. When thinking about branding, look to your favorite products. How does the shoe company create one look for their products? It boils down to knowing how to make your look consistent from colors to fonts and images. Doing a little research goes a long way. There are so many free resources for branding online. Other Native artists are successful in marketing and branding. Ask them for their advice. The Native artist world is a small one; we encourage new artists every chance we get. Finally, know your worth. Know how to price your creations accurately. If the effort, supplies and the creation time equal a price that seems a bit high, then ask yourself, “Is my work worth it? Am I worth it?” If the answer is yes, then do not budge of lowering your price. People who know and respect the time and effort of Native artisans will pay for quality artwork by the respected artist. How can interested people purchase your work? I have limited pieces of jewelry in the IAIA Museum Store in Santa Fe, NM. I primarily sell in person. Folks who want to see what’s new or in the works can connect with me on Facebook at Love Adorned by Lori Tazbah. I also post the shows or powwows that I will be selling on my Facebook page.


The Insider Culture



Kelly Holmes recently had the pleasure of stopping by Federal Coffee in Denver, CO to interview indigenous boss babe Sonia Rosas.


ently tucked in between a Mexican party shop and restaurant is a coffee shop on the historic and iconic Federal Boulevard in the Jefferson Park neighborhood. What makes Federal Coffee a standout coffeehouse is not only the locally-sourced freshly roasted coffee or the warm and chill ambiance but how co-owner and boss babe Sonia Rosas transformed it. The first time I stepped into Federal Coffee on south Federal Boulevard in Denver left me shook. Yes, the building itself is decades old, but the inside was modern and cozy. The impressive artwork dotting the brick walls, and the polished wooden floors reminded me that I was in a coffee shop. But it wasn’t until I walked up to the allwood counter finished with glossy clear and blue epoxy—which screamed contemporary—to order (continued on next page)


The Insider

my drink when I felt welcomed immediately after co-owner Sonia Rosas (Aztec descent) greeted me. I’m always in constant awe when I see other indigenous women succeed in business. I’m a massive admirer of Rosas and her story. Not only has she dealt with the loss of her mother, but she had to decide on what to do with her mother’s tienda de vitaminas [vitamin store] while grieving her loss. Now, her coffee shop is thriving in the very same place of her family’s business in a neighborhood that consistently falls victim to gentrification. I pay Rosas a visit over coffee to find out how she rebuilt her shop and where she sees Federal Coffee going. Where are you from? I was born in Mexico City and immigrated here [USA] and lived in LA [Los Angeles, CA] when I was seven years old. My grandma still spoke Nahuatl, so I’m also Native, Mexican Native. What’s your cultural background? Growing up, I didn’t know a lot about it because, in the Mexican culture, it’s hidden. We’re so mixed that sometimes we don’t talk about it, but as I got older I started to ask my parents about everything and wanted to know about my culture, and that’s how I found out my grandma spoke broken Nahuatl and that I have some Aztec roots. I consider myself Native Mexican and Spanish. So do you co-own Federal Coffee with your husband, Mark? Yes, I am the owner of Federal Coffee. I own it with my husband. Was this your first business? No, it’s not. My family owned a business in

this very same spot for the last twenty years. It was a tienda de vitaminas, which is a vitamin store, mostly geared towards Hispanic people. We had thousands of herbs and vitamins. Most of the Hispanic people around here don’t have insurance, so we still looked to the old ways of healing. My mom opened up the shop in 1997 but passed away from cancer in 2006. I came to help take care of her, and she ended up passing away. Since I was already here and when somebody passes away, the estate things have to happen, so I took over for eight years and then the neighborhood started to change. That’s when I decided to close the vitamin shop down. Then I had a baby and after we decided to open up Federal Coffee. Did you have to remodel it? Yes. I had to bring this place up to the year 2018 standards. That was the year we opened, December of 2018. Before in the vitamin shop, when I would use the microwave, all of the lights would go off, so I had to bring this place up to present-day standards which cost a big chunk of money. Why a coffee shop? Do you love coffee? I do love coffee, but I’ll tell you the truth, I did not like coffee shops. I usually do not like coffee shops because to me they always had somebody that’s a bit pompous on the other side and if I didn’t know what to order, I always felt weird and rushed. So that’s why I didn’t like coffee shops. So that was one of my intentions when I did open up a coffee shop, to make everyone feel welcomed and that hopefully when they walk in, they saw somebody that looked like them behind the bar. I like the sense of community. I love seeing different people come in here. I’m from Los Angeles, so it’s more diverse. That’s


Top & above: artwork by local artists decorate the walls of Federal Coffee

one of my goals is to see this shop with everyone in it Why coffee, though? It was my husband’s idea. He loved coffee, and that was his first job as a teenager before school. He used to work at a coffee shop, and he liked it. At first, I thought, “no, not a coffee shop,” and he finally convinced me and I love it. I love the sense of community. That’s awesome because it seems like everyone loves coffee! Everybody does love coffee. What we all have in common is our love for coffee. Young and old; rich and poor; white, black, and brown; everybody likes coffee, and I feel like I built this place for everyone to enjoy a beautiful space to drink their coffee and feel welcomed. It’s a friendly atmosphere, do you plan on keeping the place like this? I do, I plan on keeping it like this. We will be nativemax.com

The Insider

Left: paper fox heads hang off the ceiling; right: main coffee bar which features an epoxy design

rotating the art every two months or so, along with adding pop-up events. We’ll also be doing cocktails starting next summer, a fancy cocktail bar. Where does the name come from? When we were trying to name this place, we realized there were a lot of things that were trendy right now. But yet we didn’t want to date it, and in the back of our heads, we thought, “well we’re on Federal [Boulevard], why don’t we just name it Federal Coffee?” and that’s the one that stuck. We tried many names, but they all seemed corny, so we just went with Federal Coffee. Throughout your coffee shop, there are fox heads. What’s the significance? Four years ago, my husband and I ordered fox masks for Halloween. Then two years ago when we were doing construction here, he called me and told me this black fox kept coming around the construction site and since my husband’s Black, I didn’t believe that there were any black foxes. I said to him, “you’re just saying that because you’re Black,” and he replies, “no, I swear!” He took a video of it, and of course, I Googled it, and it’s actually a rare genetic mutation. Only 8% of the fox population is Black. When we were coming up with the name I said to him, “wait, that’s your spirit animal, the black fox came to look for you.” So it became the logo of the shop. He’s also the driving force behind all this because I wanted to give up quite a few times with all the challenges that we had, especially having owned a business before. But he kept pushing and kept working, and he would remind me that this was my mother’s shop and tell me that she would be proud of me. Where does your coffee come from? It comes out of Rifle, Colorado which is a little bit outside of Boulder. I spoke to many companativemax.com

nies, from the biggest ones such as Whole Foods to the smallest ones like guys who are doing it in their garages. But I ultimately settled on Ampersand because they are new just like the coffee shop. They’re a couple of years old, and the people are super friendly, plus they source their coffee from women-owned farms. Around the world, about 80% of people who work on farms are women, but only 8% actually own the farms. So Ampersand works with a non-profit that works all over the world to buy from only women-owned farms. I had to do that, and their coffee is excellent too, so the combination was a knockout. That’s cool, so with the coffee shop, you support small local businesses? Yes, everything we have here is mostly local. So our bar was made by five different people. Monarch Metal Manufacturing did the base. We had a shop do the woodwork in Wheatridge, Colorado. The guy that did the epoxy finish lives down the street. Everything is sourced locally. Nothing is flown in — no Amazon here [Laughs]. How would you say Federal Coffee is different from other coffee shops? Aesthetically, I’d say it looks very different. Right now, trends are going on as far as coffee shops, like with the subway tiles. And that was our idea from the beginning, but the style of the shop evolved into what it is now. I like that it’s very modern and eclectic. I don’t feel like there’s a rule to the decorating. The coffee shop has both Mark’s and my style. Everything in this coffee shop is with love. We personally picked out every single thing, so there’s been a lot of thought put into this, with a little bit of my mother’s style. Where can you see your mother’s style in the coffee shop? She liked a lot of wood. She also liked a lot of really nice finished pieces. The mirror in your coffee shop is a beautiful and substantial finished piece. Tell me about that. This mirror here is actually a part of Denver history. It comes from Govnr’s Park Tavern. They closed down after forty years. I was there looking for appliances, but those were gone. How-

ever, that mirror caught my eye, and I bought it for only $60! Best $60 I ever spent [Laughs]. Since Govnr’s Park Tavern was one of the first bars and restaurants downtown, so it’s apart of Denver’s history. Now when people come in here will be like, “Hey, I know that mirror!” I feel like it’s cool because the mirror is living on in Federal Coffee. It has some history to it. There’s a lot of eye-catching artwork displayed throughout the coffee shop. Who are the artists, and how do you select the artwork? The artwork you see so far is by two different architects. James Anderson is the architect who creates the artwork with the faces and is the gentleman who did our bar as well. He’s a very good friend of ours. The second architect who created the animals is Jason Astorino. I’m always open to submission for artwork to display in the coffee shop. I have twelve months to fill, and I love to support artists. Do you have any favorite blends or origins? Yes, I do. Mexican Chiapas is an excellent medium blend. It’s great for iced coffees. But what I learned as a coffee shop owner is that I love the Ethiopian combination as well. At first, I didn’t like the Ethiopian blend before because I thought it was too acidic. Maybe because I tried it from the wrong companies, but I love the Ethiopian combination. I feel like it brought my coffee palette up a notch or two. What’s your most popular drink? Our most popular drink is a latte. Everybody loves latte. For some reason, we Americans love our milk. And what’s a latte here at Federal Coffee? A latte here is two shots of espresso with the rest milk. You can either have it iced or warmed up. It’s foamy and creamy, and I think that’s why people love it. It’s not very strong, but it gives you a jolt. Do you have any plans for the rest of the year? Yes, we have events happening here. We plan on having pop-ups happening here. I plan to work and get this coffee shop running smoothly and get more people through the door via community-based events. Like Federal Coffee on Facebook for upcoming events, specials, operating hours and more.


The Insider

Indigenous Marketplaces You Can Shop Nothing beats an amazing marketplace in the summertime. Indian Country is home to many marketplaces, but two standout places to shop are Bison Star Naturals’ Outdoor Marketplace and Indigenous Marketplace San Diego.


othing beats an amazing marketplace in the summertime. Indian Country is home to many marketplaces, but two standout places to shop are Bison Star Naturals Outdoor Marketplace and Indigenous Marketplace San Diego. You can shop for

food, fine art, jewelry, live plants and more at Bison Star Naturals’ outdoor marketplace and farmer’s market located in Taos, NM while Indigenous Marketplace San Diego offers an indoor shop of locally handmade art and wear.

Indigenous Marketplace San Diego Fashion designer and San Diego Fashion Week alum Marcie Bain (Karuk/Shasta), who designed haute couture dresses inspired by her Karuk heritage and passion of the outdoors for her label B.JASH.I., founded an indigenous marketplace and gallery in San Diego, California. Three years in the making, Bain finally opened The Indigenous Marketplace in October of last year. The market and gallery currently showcases handmade, high-quality items by twelve local artists from the San Diego area, primarily from Valley Center and consists of mostly indigenous-made art (more than 60%) alongside works by nonNative American artisans as well. What sets Indigenous Marketplace apart in addition to being a Native American-owned and operated business is its location. The marketplace is in a small country town with five local American Indian reservations nestled around it: Rincon, San Pasqual, Pauma, Pala, and Pechanga, as well as other reservations in San Diego County that are within an hours drive to the marketplace. Bain tells us her goal is to move to a larger space and start a co-op marketplace and open gallery and with it, an online store and mobile shop. “Our goal is to have about two hundred artists showcasing their work and will include a gallery setting to showcase canvas, pottery, and wearable art from various artists.” Visit Indigenous Marketplace at indigenousmarketplace.myshopify.com 20 NATIVE MAX MAGAZINE | JULY/AUGUST 2019


The Insider Bison Star Naturals’ next marketplace is Saturday August 10! Visit Bison Star Naturals on Facebook for more information!

Bison Star Naturals Outdoor Marketplace Bison Star Naturals, the Taos Puebloowned bath & body care business known for their signature sage lotion, hosts a local outdoor marketplace monthly on their property in the small town of Taos, NM. Their first market took place May 17 with about nine vendors. Their second June 15 market grew to twelve vendors. According to Angelo and Jacquelene McHorse, the owners of Bison Star, most of the vendors who participate in the marketplace are of the Taos Pueblo tribe, with a few non-tribal members partaking as well. “We envision Bison Star to be an allinclusive space that is welcoming to all people in our community” explains Jacquelene. Vendors range from food, fine art, jewelry,

live plants, and more. The McHorse’s don’t charge vendors to sell at the market, but certainly give them the option to donate a product for a door prize or silent auction. They also plan on hosting monthly marketplaces during the summer months, with potential particular holiday markets too. “Our motto is ‘let’s grow together’ so we value our community while also having opportunities through our efforts, and work because there’s more than enough abundance to go around” Jacquelene adds. “We’re thrilled that all of our vendors were happy with the turn out even despite inclement weather. Also, our attendees were thrilled with the variety, the hot food, and door prizes.” Clockwise: Art by Deanna Suazo; Hand drumming by Hail Creek Drum Group members Jaro Jackson and Cisco Velarde; Bison Star Naturals founders Angeo and Jacquelene McHorse; Frybread, Indian Tacos and Frito Pies by Shundine Suazo; June market scene. (All photos courtesy)



The Insider

Making a Statement with Style These Diné women are certainly making their marks on the graphic world, with much thanks to their unique combinations of Navajo culture and modern graphic art.


he artwork of Diné graphic designers and entrepreneurs Jacintha “Jay” Stanley and Crystal Dugi are not only eye-catching and vibrant; they’re also visionary. These Diné women are certainly making their marks on the graphic world, with much thanks to their unique combinations of Navajo culture and modern graphic art.


Jay Stanley’s iconic MMIW design she designed for National MMIW Day earlier this year. nativemax.com

The Insider Jacintha “Jay” Stanley

stream art and pop culture and our own Native communities. We all know that feeling of seeing something we want but wish it was more “Native-themed”, like art, clothes, memes, books, cards, logos and more. If I see something on social media that is funny or eye-catching and if it’s not Native-related but could be, I put my twist on it and send it out on my social media platforms for all to enjoy. For example, the eye-rolling “yaadilah” image I drew inspirations from my mother and all my aunties because growing up on the Rez you heard this phrase and when you saw those eyes roll you knew you were in deep! [Laughs]

She creates art with her little Navajo hands and her computer. Jay Stanley of Salty Black Sheep Creations is an inspired Native using graphic design and crafting to tell her people’s stories. What tribe are you? Where did you grow up? I’m Navajo from Kayenta, Arizona. How long have you been an artist? I have been artistic since I was a very young child. I remember my mother telling me that she caught me drawing on the wall and she was so amazed at how well I could draw. So instead of getting after me, she bought me some paper and colored pencils.

What’re your most popular designs or works so far? I have a couple but the one I would like to shine a light on is the MMIW [Missing and Murdered Indigenous Women] piece I made and released back in May. The image is a close up of a Navajo sash belt wrapped around a Navajo woman, and in the belt, you can see MMIW woven inside. This design blew up my phone, but I didn’t get a chance to see it unfold in real-time and go viral because I had just gone into labor with my first child! [Laughs] I saw all of the notifica-

What drew you to art? I think it’s how my mind has always worked, seeing the world in an artistic way. I come from a big family and we played outside most of the time with whatever we could find: sticks, rocks, Clockwise: Stanley’s custom tumblers; one of Stanley’s first mud, you name it and your imagination graphic designs; the logo for Stanley’s Salty Black Sheep runs wild. In my teenage years, I always Creations; One of SBSC’s popular design which is inspired by wanted to master different art mediums Stanley’s mom and aunties. Photos: courtesy like pens, pastels, watercolor, etc. I would draw and paint until I got bored of the medium and I would try another then another. tions the next day! This piece hits hard because I am an Indigenous woman which For a good four years I did not do much art until I had this image in my head means I am a target, my step-daughters are targets, my nieces all the way to the that I wanted to put on a shirt for a powwow I was helping put together, the annual students I once taught on my reservation and my husband’s reservation are all Mother’s Day Powwow at the University of Oregon in Eugene, Oregon. The image targeted. was of Daisy Duck dressed as a traditional dancer. I did some quick research and that is when I learned about the art software Adobe Illustrator. My mind was blown! What’s an important role in being an artist? I watched tons of YouTube tutorials and learned by trial-and-error and I haven’t Being an artistic person we have the ability to tell a story in just one image, and looked back since. Adobe Illustrator is the one medium I don’t think I will ever get that is so powerful. At this moment in time I am a stay at home mom and yes, I bored because there are multiple ways to make an image and Adobe has come out use my art skills to bring in income but creating images that can change people’s with new updates throughout the years. I love it and the challenge of creating what I minds about an issue that affects so many is bigger than selling a couple of cute am thinking and the joy when I finish a piece are the best feelings in the world. tumblers. However, my Facebook following doubled after I posted the photo of the How do you create your works? Navajo basket design tumbler with the sunrise coming down through the clouds I use Adobe Illustrator majority of the time, I also use other Adobe software but I‘m just after an afternoon rainstorm outside of Chilchinbito, AZ on my way to deliver not highly skilled in those yet. Sometimes I sketch out the image but most of the the cap to a customer. time I start right in Illustrator. Shop Jay’s work at etsy.com/shop/SaltyBlackSheep Where do you draw inspiration from? Follow Jay on Instagram: @saltyblacksheepcreations I draw inspiration from other artists, both Native and non-Native, as well as main-

Crystal Dugi Crystal Dugi is a Diné artist whose colorful designs are inspired by the tradition of a Navajo woman being the leader of a home. She’s always dreamed of being a leader, and finally has her own shop where she creates and sells her art. What tribe are you? Where did you grow up? I am full-blooded Navajo from Tuba City and Tonelea, AZ. I grew up in Tonelea, Grey Mountain, and Tuba City, I’ve spent most of my life on the rez. How long have you been an artist? What drew you to art? I’ve been an artist for more than a few


years now. I used to draw and sketch as a kid. As far as an art career goes, I started off in Fashion Design. While in Fashion Design school I took several art and drawing classes and fell in love. I wasn’t sure where Fashion Design was going to take me but I knew I wanted to do art. A few years ago I was diagnosed with Bipolar Disorder and it was then I reconnected with art as it was my anxiety remedy. I transitioned into painting and this is where my art passion blossomed. I was able to create art and feel good at the same time. It’s been my passion and my savior. How do you create your works? I usually start off with a busy mind. I


The Insider

have a lot of things going through my head and I try to get what I can down on canvas. As the paint touches the canvas, my head begins to clear and all my thoughts and worries poured into the work. I love to use colors, especially bright ones. Do you have a favorite art medium? My favorite medium is acrylic on canvas. I am a fan of all mediums though. One day I’d like to touch base with all of them. Where do you draw inspiration from? I am a huge fan of strong inspirational women. A lot of my work this year has been created around the Navajo woman. I love the inner beauty, outer beauty, and peace that a Navajo woman is. She’s strong. As I am a Navajo woman, I try to create pieces that incorporate my culture as much as possible.

Aside from graphic designing, Dugi also paints using the same vibrancy and cultural inspiration. Photos: courtesy

What’re your most popular designs or works so far? So far, my most popular work has been the Navajo Woman design. It’s elegant and fun and has reached a lot of people. It’s simple yet loud in its presence in my art. I have done many pieces with her in different variations and colors. I will continue to work with her and I will always go back to her. Shop Crystal’s work at redbubble.com/people/ crystaldugi Follow Crystal on Instagram: @crystaldaghaaii



The Insider

Of Backbone & Beadwork: An Interview with Shoshone-Bannock Master Beader Brodie Sanchez Now a master beader, Brodie Sanchez (Shoshone-Bannock) of the Fort Hall reservation in southeast Idaho came from humble beginnings. Sanchez shares his story of perseverance and how beading helped his family.



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rodie Sanchez is a Shoshone-Bannock beader known for his finedetailed, ultra-sharp beadwork. Upon coming across Sanchez on social media, we invited him to be featured in our issue. At first glance of his work, it'd be hard to believe Sanchez just started beading professionally only recently. As he explains, Sanchez took a risk by purchasing supplies to bead a medallion to sell when he only had $20 to his name. Now, Sanchez has made beaded medallions for superstars like Bruno Mars and Ice Cube. We sit down and visit with Sanchez about his humble beginnings and who continues to inspire him. When did you learn how to bead? I first learned to bead in the 7th grade while going to school in a traditional art class. Our people from Fort Hall have been known for our beadwork throughout the country, so having many elders and teachers to learn various techniques from was a blessing and an enormous contribution. I would visit and watch them bead, study their works, and listen to them talk about beadwork for hours. These were my teachers, not one but a collective of many different artists, each with their styles and lessons. When did you start beading medallions? A medallion was the first project I ever finished beading. I still remember it like it was yesterday, I was just laid off for the season while working for my tribe's Fish and Wildlife Department. I didn't work enough of the year to file for unemployment, and I had only $20 to my name with a daughter to feed. So I went to a local corner store and bought three hanks of beads, a bobbin of thread, and some needles. That night I drew up a Chicago Bulls medallion and finished beading it the next day. I sold it for $100 and bought some things we needed and more supplies. The next day I did it all over again, this is how I started beading medallions. Where do you draw inspiration? I draw inspiration from many different forms of art, whether it is from another artist's work or everyday life. There's always something to be taken inartistically by your everyday surroundings. The artist that inspires me the most would be the artworks of Banksy. As far as beadwork, the late Edgar Jackson of Fort Hall would be my biggest inspiration as he was the first person I ever saw bead a portrait. You carefully combine art and skill with style by beading medallions. How do you approach the process? The process takes a lot longer than most people realize. Starting a project from just an idea in your head to a wholly beaded medallion seems simple in theory. Doing portraits or photo-realism is something completely different than regular beadwork, as you have to imagine a lot of the work in your head and trust the process. It is easy to doubt yourself and give up. For me, I try to stay positive and focus on my technique. One thing I do not stress about is time, as you can't rush art. What are your favorite pieces to bead? My favorite pieces to bead would be anything photo realistic or designs that challenge my artistic ability to go past my comfort zone. I am continually trying to push the limits of my beadwork, not only visually but the motives behind the artwork as well. I want to make art that makes a statement in the world with a technique that combines our traditional ways to modern-day problems that get people talking or bring awareness to our issues. Tell us about the time rapper Ice Cube wore your beaded medallion you beaded of him? A friend of mine, Monica Gates, messaged me one day asking me if I could make Ice Cube a medallion. She had a friend named Adam who was setting up an Ice Cube concert at their casino. They were going to do a meet-andgreet before the concert, and they wanted to give Ice Cube a gift. I agreed and made a portrait medallion of Ice Cube and sent it to Mo and Adam. The night of the concert Adam and Mo's meet-and-greet was changed to after the show. Mo being the awesome person she is couldn't wait and crowdsurfed her way to the front of the stage with the medallion. She handed it to Cube while he was performing "It Was a Good Day" and a few minutes later, people started messaging me and sending me pictures. My medallion went viral. It was all pretty surreal the way everything happened but was a highlight in my career.

The beaded medallion Sanchez made for rapper Ice Cube.

To see more of Brodie's works and to purchase stickers and beaded hats, check him out on Instagram: @shoshonisanchez07. 26 NATIVE MAX MAGAZINE | JULY/AUGUST 2019


The Insider

She Who Goes to War T

Janelle Cronin is one courageous woman who is speaking out through art, education and activism. BY TREE MANGAN

here are so many talented and amazing Indigenous women that are making a difference in our world. Every person has a story to tell, and some are willing to share theirs in hopes to inspire, support, or enlighten. As an Indigenous woman, finding common ground between one's culture, beliefs, and the European ways of society is a learning process in itself. One courageous woman is speaking out through education and activism through the arts while doing it all with grace. Ms. Janelle Cronin of the Navajo Nation, Zuni Pueblo, Jemez Pueblo, First Nations-Canada was raised in Cottonwood, Arizona, on the Navajo Nation and in the border town of Gallup, New Mexico. Last year she received her Masters of Science degree from Purdue University. She shares her journey of how leaving the reservation lead her to advocate for Indian Country. What was your experience like going to Purdue? Coming to Purdue was my first experience with culture shock. On my first day, I was so overwhelmed with the amount of Caucasians that I told my mom I felt like I was drowning in a sea of blonde hair and blue eyes. Up until four years ago, I was safely in the majority of my people, from my home border town on the Navajo reservation to my undergrad institute Haskell Indian Nations University. I was always in a community of Native people who looked like me, laughed like me, ate like me. Navajos were so common they even say there are Navajos on the moon. I was fortunate and sheltered in my community spaces because I didn't have to worry about high levels of ignorance and racism near home or in the classroom. I grew up near my tribal community where I could participate in dances and ceremonies and flourished in a home that encouraged activism, studying history and science, and channeling my creativity through writing and art. It wasn't until my approaching undergrad graduation date did the elders from my undergrad community address everyone in a speech that warned us about what we were about to face "in the real world." They warned us about the ignorance, hate, racism, misunderstandings, and homesickness. But also about the importance of our journey, the continuous fight for our people and to remember where home truly is. The reality of their words came to life once I stepped on Purdue campus, my first time off the reservation. How did you advocate the misconceptions? Well, I never tried to anticipate when it would happen because it could happen anywhere with anyone, mainly when I lived in Indiana. During


Top: One of Cronin’s paintings. Above: Aside from being an artist, Cronin is also an activist and continues to advocate through art on various issues impacting Indian Country including Missing Murdered Indigenous Women.

my time on campus I spoke at numerous events ranging from tours at the Native Cultural Center, lectures in classrooms and on stage at rally's so when there was a chance to educate the ignorant I often took it. My strength is my humor and communication skills. I wanted to challenge the hate and the arrogance I felt at some of these events, and sometimes that meant being very direct with my audience and giving them a quick history lesson, changing a perspective with my story or shattering a stereotype or misconception they had already determined I was "suppose" to be. It became a conversation I would have to have with myself, always asking if I had time for this today, and if I was ready to engage in the situation or event. It takes a lot of emotional and mental strength to stand up and speak out, especially when most of the time, you are standing alone on the issues that represent and impact Indian Country. Out of 40,000 Purdue students, there were around 50 students that identified as American Indian/Native American on campus. With a low Native presence on campus, a lot of the willingness and responsibility fell on the shoulders of the few Native students to attend events, lectures and be the representative of all Native peoples and their perspectives in Indian Country. So even that first step of telling my audience that I do not speak for all of Indian Country and merely speak for myself and my own experiences JULY/AUGUST 2019 | NATIVE MAX MAGAZINE 27

The Insider

was an eye opener for many who believed I rode a horse to work each day and slept in a tipi each night. It was dealing with daily interactions where I was expected to acknowledge Pocahontas' many descendants and the hundreds of royalties of the infamous Cherokee Princess Grandmothers. I had to choose to either turn a blind eye to the identity claims that approved of fake headdresses and Poca-hottie costumes without acknowledging the real history of America and the genocide of the first peoples or to confront ignorance head-on and make my ancestors proud. I believe we all have the right to choose whether we engage or not with any issue or topic facing Indian Country. But I also think that because we are such a small group of people, it is vital that we always take the chance to be vocal, be seen, be heard, be understood because if we don't we will be stuck in history as an extinct group of people forever romanticized in an era of westward expansion. Why activism? It was a chance that I had to take. I feel like all Native people have the drive to help their community in some way and participating in Standing Rock was a chance to physically, spiritually and emotionally take part in a movement that had potential to make a change in the world. Coming from a family of teachers who taught me to question history and religion, to read and research, to stand and fight for others made my decision to join easy. I am proud to carry a warrior name, She-Who-GoesTo-War. As an aspect of my identity and a name for my spirit, I was able to engage in a movement that allowed me to be myself as a Native woman today and to use my strengths from the Creator in the best ways I could. How did art become a part of you, and what message are you sending? 28 NATIVE MAX MAGAZINE | JULY/AUGUST 2019

Art is compelling; it's a way to speak without speaking. I have always painted with my family since I was very young, but it didn't become a part of my social justice work until the last few years starting with Standing Rock. I felt a lot of responsibility to reiterate what I had witnessed as a Water Protector to motivate people to engage, donate, protest, and care about what was happening to us in North Dakota and across Indian Country. I was working to educate people on more than just a pipeline but about sovereignty, treaties, police brutality and our missing and murdered Indigenous women and men; all interconnected issues to me spanning forth from the Dakota Access Pipeline. My art gave me a chance to confront and express my own emotions at that time which was a lot of frustrations, anger, and anxiety that I couldn't be on the frontlines every day fighting to make a change for my people. I had to express the hope and revitalization I felt with each return from Standing Rock, knowing that I was a part of a movement that could make a change in my community. My canvas became a place to say what I didn't have the words to say just yet. For others looking at my art, I want them to find a connection to a piece, anything that has significance to their life and to share that with me. The best days are when someone who shares a story about how and why that specific painting stood out to them. They share what they think, believe, and see in something I created. When those moments happen for me, it makes me feel that this whole time, I was creating a piece for them because my piece of art found it's true owner. Where do you want to get your Ph.D.? I have considered returning to Purdue University for my Ph.D. despite the additional responsibilities I faced as a Native student on campus. The facility, and community I met there was so supportive and open to learning that I would gladly return to continue my Ph.D. work. I have also considered the University of Kansas because of past experiences and internships there I feel that I would have a strong team nearby to help me tackle any issues. But I have also kept some international universities in Australia an option because of my experiences as a visiting scholar. I see great potential for all future collaborations, and I am already excited thinking about returning to school. Ms. Cronin is currently working for the American Indian Graduate Center (AIGC) in Albuquerque, New Mexico as the Development Assistant. Building on the 50-year legacy as the largest scholarship provider in Indian Country, her team focuses on fundraising efforts to secure scholarships and increase student services to American Indian and Alaskan Native (AI/AN) students across Indian Country. She also continues to advocate through art on various issues impacting Indian Country including Missing Murdered Indigenous Women and Men (MMIWM), the unmet need of AI/AN students pursuing higher education and has some exciting future collaborations that will be announced soon! nativemax.com

On the Cover

THE FORTHCOMING FUTURISM OF INDIGENOUS FASHION Indigenous fashion is evolving and expanding. But we always find ourselves admiring the history of it by drawing connections between a fashion designer’s culture and how their tribe’s traditional art methods influence their designs. Seldom do we explore what the future of indigenous fashion will become. Once I heard Indigenous Pop X Denver was hosting Indigenous Futurisms Fashion Show sponsored by ACONAV at their event, I contacted my good friend Loren Aragon to ask why it’s essential to consider the future of indigenous fashion and what his take is on it. BY KELLY HOLMES





On the Cover



On the Cover



On the Cover

Native American fashion is evolving and expanding. However, in more ways than one, we look into the past of it. We

discover how indigenous fashion designers and artisans still practice ancestral traditions such as pottery and parfleche, with many incorporating their tribe’s traditional aesthetics like patterns, symbols, colors, and other art methods into their designs. Seldom is the future of indigenous fashion explored. What will indigenous fashion be in a decade or two? Or in a century? One fashion label who took on the fun and creative challenge of envisioning what indigenous fashion will look like in the future was ACONAV. ACONAV is a couture fashion brand based out of Phoenix, Arizona, with Acoma Pueblo fashion designer and artist Loren Aragon as its co-creator. ACONAV celebrates the strength and empowerment of women through positive expressions in designs that tie culture to modern style. According to Aragon, the brand’s purpose is to accurately and respectfully represent a part of Native America in fashion. Aragon and his team designed a collection exclusively for the first Indigenous Pop X Denver (IPX) last weekend. This collection was Aragon’s take on what we might expect to be the future of fashion in the Pueblo culture. “I feel there will always be an influence from our culture and we will adapt to the changing world,” explains Aragon. “It’s a simple prediction. I’d call it ‘The Forthcoming’”. The collection draws inspiration from his fascination with sci-fi, aliens, and fantasy spaceage looks. But as always, with culturally-fueled influence from his Acoma Pueblo culture and roots. I watched Aragon’s “The Forthcoming” showcase debuted on the runway at IPX’s Indigenous Futurisms Fashion Show runway and immediately see what he means. The brand’s signature composition of traditional Acoma Pueblo pottery print and distinctive style of dresses was evident, but there were new pieces that certainly let me know Aragon and his team had pushed the envelope. A jacket featuring full color-hologram shells paired with an airy purple flare skirt captivated the audience. ACONAV intern Iris Jean Smith created a three-piece collection designed with rose gold material and dark blue denim under the mentorship/internship of Aragon for the runway as apart of The Forthcoming collection. And there were a few alluring pairs of ACONAV pants that were included in the collection. Aragon not only showcased his newest collection in the Indigenous 32 NATIVE MAX MAGAZINE | JULY/AUGUST 2019

Futurisms Fashion Show at IPX, but he also sponsored it. “The Indigenous Futurisms Fashion Show was a showcase of what designers and artists believe the future of indigenous fashion will be” Aragon explains. But what exactly does the future mean to indigenous people? Aragon answers, “The future can be anything, the discovery of new technology, living in space, adapting to an apocalypse, or living in another world altogether.” The Indigenous Futurisms Fashion Show is a fun and creative challenge to the designers who participate in the showcase, with its mission of challenging the ideas of the viewers, namely the younger generation. “I hope that the designs we showcase become an inspiration to younger generations and aspiring designers. The ultimate statement being that we as native people have survived the hardships of the past, and we are here now and rising to a future where we will still be very much a part of this world or other worlds.” Three looks from ACONAV’s The Forthcoming collection was featured in this issue’s cover shoot and worn by models Kayah Mangan (Diné) and Michaela Dominguez Iron Shell (Sicangu Lakota) alongside myself. Although the dresses follow ACONAV’s theme, Aragon and his team certainly used fabric traditionally not seen before from the brand. Aragon even paired a shoulder piece and headwear made of black plastic material with a few of the dresses to bring the sci-fi vibe to the looks. The theme of the cover photoshoot featuring Aragon’s dresses was Alien Queens. Jaleesa Greybull (Lakota/Diné), the makeup artist and hairstylist of the shoot, utilized vivid colors such as blue, gray, and orange on the eyes with wingedeyeliner. Each makeup look was complete with bold, thick eyebrows and beautiful lips finished with white painted dots and lines carefully placed throughout the face. This concept was out-of-the-ordinary and fun for the Native Max team, primarily for photographer Viki Eagle (Sicangu Lakota). It was Eagle’s idea to shoot at Babi Yar Park in Denver, CO because of its striking, minimalistic design elements. ACONAV is an already multi-faceted brand, so I asked Aragon how his newest collection adds more versatility. “This is another means to be able to create. Let the imagination go wild.” All of this was an excellent opportunity for Aragon and his team to test new ideas and work with modern fabrics. “It’s my chance to get a feel for my abilities, to grow and improve. Much of what I learn from all this is then applied to upcoming collections.” nativemax.com

On the Cover



On the Cover



Counting Young Children in the 2020 Census Counting everyone once, only once, and in the right place An estimated 5 percent of kids under the age of 5 weren’t counted in the 2010 Census. That’s about 1 million young children, the highest of any age group. We need your help closing this gap in the 2020 Census. Here’s what our research tells us about why young children are missed and what you can do to help make sure they are counted.

Common situations where young children aren’t counted

How you can help?

Emphasize that the census counts everyone where they live and sleep most of the time, even if the living arrangement is temporary or the parents of the child do not live there.

If the child truly spends equal amounts of time between two homes, count them where they stayed on Census Day, April 1. Coordinate with the other parent or caregiver, if possible, so the child is not counted at both homes.

If it’s not clear where the child lives or sleeps most of the time, count them where they stayed on Census Day, April 1.

Explain to service providers and families that responding to the census helps determine $675 billion in local funding for programs such as food stamps (also called the Supplemental Nutritional Assistance Program or SNAP), the National School Lunch Program, and the Children’s Health Insurance Program (CHIP). When children are missed in the census, these programs miss out on funding that is based on the number of children counted.

Explain that filling out the census yourself, on your own schedule, is easier than having to respond when a census worker knocks on your door. Remind these households that the form should only take about 10 minutes to fill out and can be done online or over the phone, in addition to mailing it back.

Encourage moms with young children to ask other household members to count them and their children on the form if others live in the household.

Emphasize that parents should include babies on census forms, even if they are still in the hospital on April 1.

Encourage facilities providing services to newborns to remind parents about the importance of counting their children on the census form.

Highlight the fact that the census form only takes about 10 minutes to complete, and parents can fill it out online or over the phone in addition to paper at a time that works best for them.

The child splits time between two homes. The child lives or stays with another family or with another relative such as a grandparent.

The child lives in a lower income household.

The child lives in a household with young parents or a young, single mom.

The child is a newborn.

Connect with us


@uscensusbureau JULY/AUGUST 2019 | NATIVE MAX MAGAZINE 35



Profile for Native Max Magazine

Native Max Magazine - Indigenous Futurisms