Native Max Magazine - March/April 2019

Fierce & Funny Comedian

Tonia Jo Hall STYLE

EVOKING EMPOWERMENT WITH ACONAV A COUTURE BRAND WHO CELEBRATES EMPOWERMENT OF WOMEN UNLIKE ANYONE ELSE

FEATURE

Norma BakerFlying Horse:

The

Breaking the Mold

Issue nativemax.com

BREAKING THE MOLDS & FINDING BALANCE

HOW THESE NATIVE WOMEN ARE BREAKING THE MOLD These Native women are breaking the mold & taking hold of power in their respective spaces

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#StoryTellingHeals 2 NATIVE MAX MAGAZINE | MARCH/APRIL 2019

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Contents March/April 2019

Welcome to the Issue 003

TABLE OF CONTENTS

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BEHIND THE COVER

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EDITOR’S WELCOME

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MASTHEAD

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 009

EVOKING EMPOWERMENT WITH ACONAV

we feature a couture brand who celebrates the strength and empowerment of women unlike anyone else: ACONAV

The Insider 017

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HOW THESE NATIVE WOMEN ARE BREAKING THE MOLD

meet four Native women who are breaking the mold and taking hold of power in their respective industries

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021

TALA TOOTOOSIS

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LEADING BY EXAMPLE

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MICHELLE REED

we sit down with Tala and listen to her story of perseverance and resiliency meet Carrie F. Whitlow, a successful college grad who returned to her community to help her people dancer, beader, seamstress, fitness trainer, doll-maker, producer, mother, daughter, wife, friend: she is all of these things and so much more

Features 024

TONIA JO HALL: FIERCE & FUNNY

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NORMA BAKER-FLYING HORSE: BREAKING THE MOLDS AND FINDING BALANCE

Lakota, Dakota and Hidatsa comedian Tonia Jo Hall is unforgettable, fierce and funny

how did Norma Baker-Flying Horse evolve from the humble beginnings of making powwow regalia at home to becoming one of Native fashion’s must-have label? By breaking the mold, of course

On Radar 039

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5 MINUTES WITH SUSPENDED

we meet up with all indigenous-female Rez Metal band Suspended members Channing Concho, Jessica Armstrong and Amanda Castillo

Behind the Cover

Behind the Cover:

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onia Jo Hall’s photoshoot took some work to coordinate. To plan a 2-hour shoot that would work with both Tonia’s and photographer Hope Baker’s schedules was a tad difficult. The photoshoot was finally scheduled and took place in Baldwin, North Dakota during the cold winter weather that normally beats on the upper plains this time of year.

The photoshoot was produced by an all Native-female team of mostly members of the 3 Affiliated Tribes, with SaNoah LaRocque from Turtle Mountain Band of Chippewa Indians who assisted with the shoot.

Tonia had her makeup done by Christine Blake, who’s a member of the 3 Affiliated Tribes. Christine used liquid lipstick on Tonia that was gifted to Native Max Magazine by First Nations-owned cosmetics brand Cheekbone Beauty.

The photographer of the shoot was Hope Baker, another member of the 3 Affiliated Tribes. She’s an up and coming lifestyle photographer based in Bismarck, ND who excitedly agreed to the cover shoot.

Tonia was amazing enough to bring her character Auntie Beachress with her to the shoot. Alongside her looks of donning a ribbon skirt (more on that in a bit), beaded jewelry and high heels, Tonia sported Auntie Beachress in some of the shots. She had us cracking up during the photo shoot!

And lastly, Hidatsa, Dakota, and Assiniboine fashion designer Norma Baker-Flying Horse (who’s childhood friends with Tonia!) custom made her ribbon skirt exclusively for the cover shoot! She designed it with Tonia’s beauty and personality in mind.

Photos courtesy of SaNoah Larocque

Check out more BTS photos from the cover shoot online at NATIVEMAX.COM!

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45th Annual

Denver March PowWow

March 22nd-24th, 2019 Denver Coliseum

–Miss–

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Editor’s Welcome

Did you know: The models featured in the ACONAV Editorial Spread in The Edge section are all college students!

It was exciting to feature one of our favorite Native comedians on the cover of this issue!

Fierce & Funny

A

cross the continent, there are more indigenous women breaking the molds and making great strides all over: New Mexico Rep. Deb Haaland (Laguna Pueblo) and Kansas Rep. Sharice Davids (Ho-chunk) are two Native Americans sworn into Congress for the first time this past election cycle, and indigenous actress Yalitza Aparicio appears to be the first indigenous person to be nominated for Lead Actress at the Oscars. We’re proud to have featured a handful of talented and successful Native American and First Nations women in this issue, titled Breaking the Mold.

For The Edge, we put together a fashion photo shoot featuring the newest collection by ACONAV, a high fashion brand by Acoma Pueblo designer Loren Aragon. Although he’s male, his high-end label focuses on the beauty and empowerment of women of all walks of life. Also worth mentioning: the three models in the shoot are current college students! Chloe Doctor is a Biology Major going into Pre-Med at University of Denver, Becky Plumage is attending University of Denver Sturm College of Law, and model Zenetta Zepeda is a transfer from University of Hawaii at Manoa who is currently attending Community College of Denver to obtain a Bachelor of Science in Biochemistry with

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a Minor in World Health Science, where she’ll work towards a Doctorate in Virology after. Even Rae Woody, who was the makeup artist for the shoot, is studying Psychology at the University of Denver.

In the Insider section, we meet four Native women who are breaking the molds of their respective fields. First up is Jenna Chasing Hawk, who is a Lakota tattoo artist making it in London, England and breaking the mold in the tattoo world.

Missy Whiteman is breaking the mold in multimedia with her cultural short films, and film and media consultancy with Independent Indigenous Film and Media (IIFM). We also featured Gwendena Lee-Gatewood who is breaking the mold in being the first female Chairwoman to serve on the White Mountain Apache Tribal Council and Adrianne Chalepah who is breaking the mold in comedy.

And lastly, I was so excited to interview comedian and social media star Tonia Jo Hall.

You’ve certainly watched one of her videos on Facebook where she shared life lessons as Auntie Beachress or funny anecdotes about everyday life in Native communities. Or saw her perform live on stage at a comedy show or on the Powwow dance floor across Indian Country. Either way, Lakota, Dakota, and Hidatsa comedian Tonia Jo Hall is unforgettable, fierce and funny.

“We’re proud to have featured a handful of talented and successful Native American and First Nations women in this issue”

Enjoy the issue!

Kelly Holmes Founder + Editor-in-Chief

@kellycamilleholmes @kellycamilleholmes @kellzholmes

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PROMOTION

KELLY HOLMES Founder + Editor-in-Chief @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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The Edge

Evoking Empowerment with ACONAV For Womens’ Month, we feature a couture brand who celebrates the strength and empowerment of women unlike anyone else: ACONAV. Here’s the exclusive first look at ACONAV’s Spring/ Summer 2019 collection.

Photography by Viki Eagle (Lakota) Assistance by Zoe Friday (Arapaho) Makeup by Rae Woody (Diné)

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The Edge

About the Collection: A representation of Acoma Pueblo monochrome and polychrome Details: pottery art using applique techniques Dress: andACONAV handmade Ancient florals. Designs in red Voices are Collection an homageReady to ancestry and bloodline To Wear while Dress, honoring $225,the issue of Missing www.aconav.com; and Murdered Indigenous Women. jewelry: model’s own Model: Becky Plumage (Nakota)

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The Edge

Details: Dress: ACONAV S/S 2019 - Red Series Gown, $2,300, www.aconav.com; jewelry: model’s own Model: Zenetta Zepeda (Lakota/Diné)

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The Edge

Details: Dress: ACONAV Ancient Voices Collection Ready To Wear Dress, price upon request, www.aconav.com; jewelry: model’s own Model: Chloe Doctor (Mohawk)

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The Edge

Details: Dress: ACONAV S/S 2019 Floral Series Gown, $2050, www.aconav.com

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The Edge

Details: Dress: ACONAV S/S 2019 Monochrome Series Gown, $2200, www.aconav.com; jewelry: model’s own

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The Edge

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The Edge

To learn more about Loren and to shop ACONAV, visit www.aconav.com

Loren Aragon:

Evoking Empowerment of Women

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o other couture brand celebrates the strength and empowerment of women like ACONAV. A Native American-owned fashion brand based in Phoenix, Arizona, ACONAV celebrates the strength and empowerment of women through positive expressions in designs that tie culture to modern style, with Acoma Pueblo engineer-turned-fashion designer Loren Aragon at the front. Loren has formulated a means of connecting and sharing his culture through fashion designs. The brand's purpose is to respectfully and adequately represent a part of Native America in fashion. ACONAV is a representation of a people, their story, and its culture. The goal of ACONAV is to be a recognizable & reliable entity in the fashion industry while working to establish meaningful relationships with groups and individuals in fashion and the greater community.

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The brand ACONAV is a fashion brand founded by husband and wife Loren and Valentina Aragon, with the brand’s name representing the cohesion of cultures between the two as Loren is of the Acoma Pueblo tribe and Valentina hails from the Navajo Nation. Loren hails from the Haa’ku, the Acoma Pueblo people of New Mexico. Nested atop a sandstone mesa, the Haa’ku means a place prepared as the final place of the Acoma people and is a place of sacredness, beauty, and mystery. It’s a place of rich history and a culture deeply-rooted into centuries-old traditions and a rich pottery art culture.

Loren has always taken an interest in art. He first dabbled in pottery-making and sculpting animal figurines with his mother Hilda, who was an educator and art teacher at their community’s school. “She taught me about our cultural art in pottery-making and introduced me to modern art, encouraging my imagination to span across various mediums.” By the time Loren reached high school, he just about touched on every art medium in visual arts there is. After settling down with wife Valentina, he started to explore the realm of fine art. Despite mechanical engineering taking precedence as his career, Loren tried his hand at pyrography (wood-burning), Gourd art, and Metal Forming throughout the years.

The foundation of all of Loren’s inspirations come from his Acoma culture, history, stories, and traditions. But he’s also inspired by the modern day world and challenges himself to make connections back to the Acoma traditional arts, stories, traditions, and even language. “I’m also inspired by technology, the everevolving world, and the feedback from patrons, viewers, followers, and admirers of my work,” Loren explains. “I do this by tying what is recognizable and symbolic of Acoma and putting it into more modern art forms.”

The brand celebrates the strength and empowerment of women of all shapes, colors, and sizes worldwide, and strives to evoke the empowerment of women with definite ideas that are embodied in designs that tie culture to modern style. ACONAV is a respectful representation of the Acoma Pueblo whose traditions and world-renown pottery art culture are reflected in its unique luxury designs and quality. As stated before, ACONAV is for all women of all walks of life. His couture wear comes in sizes 2-20, with each piece made to order. “The ACONAV woman strives to be at her best at every aspect in her life,” says Loren. “She is a nurturing role model, a matriarch in the eyes of the future. She adorns herself in an elegance that will empower her to always be at her best.”

What sets ACONAV apart from its equivalents is the focus on infusing culture with everyday life while pushing positive representation of Native American culture into the mainstream fashion industry. The brand is part of an enduring story, a people and it’s culture and seeks to identify the distinct Acoma Pueblo culture through designs that resonate the beliefs and artistry of the Acoma people. ACONAV is a story of self-discovery and evolution, as told to us by Loren. “It’s a brand that is about positive change and breaking beyond self-imposed limitations,” he explains. “It is a journey told through fashion and is meant to inspire those who wish to create their own story.”

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The Insider Culture

How These Native Women are Breaking the Mold Native American and First Nations women have always taken positions in spaces where they’re breaking the molds. Now, the world is finally taking notice. Meet four Native women who are breaking the mold and taking hold of power in their respective industries.

How Jenna Chasing Hawk is breaking the mold by being a bad*ss tattoo artist...

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enna Chasing Hawk is both breaking the mold in the tattoo world and tearing down stereotypes as a Hunkpapa Lakota female tattoo artist who lives and works in the U.K. What’s your tribe? Where do you call home?

I am Lakota from Standing Rock. Home for me can’t be defined as one place as ‘home’ is a feeling I have around the people I have been lucky enough to have in my life as I have traveled around a lot.

Why did you make the move to London?

I moved to the U.K. during the latter part of my teenage years to learn from and be closer to my grandmother who was kind enough to provide me with educational and networking opportunities that I would not have had otherwise. My grandmother was my rock and my core during a time when I needed love, understanding, and the support from someone the most.

When did you become interested in tattoos?

I like the idea that I can make something essentially geometric dynamic using structure and texture and variation of needles and black ink to create art that holds significance to each customer. Tattoos decorate the body with the essence of life. I guess I think tattoos hold a kind of magical significance and I am so grateful to be a part of this industry. (continued on next page) PHOTO: COURTESY

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The Insider Describe your style of tattooing.

I’d say my style is blackwork.

What inspires you lately?

Lately, I’m inspired by the artists around me. I’m inspired by the perseverance, generosity, and wisdom of my late grandmother. I’m inspired by the life experiences and stories I am honored to know from each of my customers.

You mentioned that tattooing is a big part of your culture. How’s that? How do you carry that in your work?

Growing up away from my reservation and in and out of the first nation community, I can only really answer this question via what elders have told me and read in books and online. But from what I understand, the Sky-Road (or the Milky Way) is the destination for those who have passed from this world. As their souls travel they must present to Hihankara or the Owl-Maker, the proper tattoos or their soul will be pushed back to Earth to wander as ghosts. Tattoos for my tribe are like passports, just as moccasins of the dead have their soles beaded in a certain way to ease the journey to the next place.

Because it is so important to have the right

tattoos, I place high importance on never doing the same tattoo twice as I think having someone else’s tattoo is you not having the right tattoo. For example, I had two brothers come in for matching puffin tattoos, and although most may not be able to see, each puffin is ever so slightly different with geometric and pattern work explicitly done to match each of their personalities while maintaining the original idea for “brother tattoos.”

What are the reactions you get when you share your story where you’re at?

Reactions here to my story have been amazing!

Honestly, growing up in various places around both the U.S. and Canada, it has taken me a very long time to be entirely comfortable with holding my own in conversations about my heritage to people outside of the Native community. The racism I experienced as a child made me very reluctant to admit I was Native, but the genuine interest and positive way the people here in the U.K. see Natives has completely changed how I see myself and has healed me in ways I can not express. This is why my version of “home” isn’t a place, but a feeling I get when around these lovely people.

I think merely being proud of my roots and culturally aware helps to educate artists around me.

Even after living in the U.K. for as long as I have, I continually have to say, “yes I am Native, yes we do exist, and no white girls in headdresses aren’t culturally accurate, so if you’d like to get a real native-themed tattoo, please don’t hesitate to ask.”

I feel that bringing in elements of geometric beadwork and symbols and ‘native-fying’ tattoos like the Pokémon one I’ve done quietly reminds people that we are still here and aren’t limited. We have a voice and add beauty and strength to a world that seems to be ever more in chaos.

I think breaking the mold for me as a Native American tattoo artist in Europe is precisely that: I am a Native American woman tattooing in Europe.

Perhaps what I feel is necessary and vital for Native women not to be afraid to venture outside of the U.S. or whatever country has laid claim to them. To be living outside means, yes, to be facing the unknown head-on, but by doing so, you gain strength and can be in a position to educate others, which in all honesty has helped to heal the racism I experienced in the states. Don’t be afraid. Be proud — travel a lot.

How are you breaking the mold of your industry?

BELOW, RIGHT: Jenna Chasing Hawk working at her tattoo studio in London, U.K. (Photos: courtesy)

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The Insider How Gwendena Lee-Gatewood is breaking the mold in being the first female Chairwoman to serve on the White Mountain Apache Tribal Council...

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PHOTO: COURTESY

proud member of the White Mountain Apache tribe, Gwendena Lee-Gatewood is of the Nilchi’lentin Clan, born for the Tse’kine Clan. She’s also the first female elected to the highest office, the Chairwoman of the White Mountain Apache Tribe.

She’s apart of the Tribal Council, where she represents the White Mountain Apache Tribe, and it’s people and acts in all matters that concern the welfare of the Tribe, and to exercise all powers vested in the Tribe through its inherent sovereignty.

Previously, Gwendena has served her tribe as the Executive Assistant to the Tribal Chairman for the last twenty years, and before that title, she was the tribe’s HR Director where she helped develop the Public Safety Pension Plan and incorporated a selffunded Workers Compensation Program that controlled costs.

Gwendena graduated from Northern Arizona University with her Business Administration degree while majoring in Human Resource Management. She represented her community through the Marshall Memorial

Fellowship, a leadership program that allowed her to travel to Europe to help strengthen transatlantic ties on regional, national and global initiatives on behalf of the United States. “This offered me an opportunity to foster democratic initiatives, rules of law, and regional cooperation” she explains.

Alongside serving as the Chairwoman for the White Mountain Apache Tribe, Gwendena serves as the President of Apache Alliance, which is comprised of Apache tribes of Arizona, New Mexico, and Oklahoma. “This alliance stands as a unified voice on issues that are common to us all.” Gwendena is an avid social media user, posting content varying between photos of committee meetings to thank you notes she received from grade school students.

Gwendena is proud of where she comes from. “We are a tight community of tribal members who, despite hardships, still come together when faced with losing a loved one,” she says. “A place where young children learn the art of hunting elk, deer and turkey.”

How Adrianne Chalepah is breaking the mold in comedy...

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drianne Chalepah is of the Kiowa and Plains Apache tribes of Oklahoma, and is a graduate of government boarding school and originally from Anadarko, Oklahoma. While attending college, she made her stage debut and studied journalism, filmmaking, and American Indian Studies. In 2009 she graduated Magna Cum Laude, and in 2010 her comedy career took off when she teamed up with the popular comedy troupe “49 Laughs Comedy”, which included notable comedian Tatanka Means.

Since then, Adrianne’s performances have gained recognition, landing her features in magazines and on television. In 2012, she was honored to open up for then-First Lady Michelle Obama. In 2017, she was published in highly-praised books “Funny Girl” and “#NotYourPrincess: Voices of Native American Women.”

It’s worth mentioning Adrianne is a pioneer in female Native American comedy. However, Adrianne is placing comedy on the back burner with plans to focus on essential issues involving feminism and equality. Adrianne shares with us what her current mission is, What’s your mission at this point?

My mission at this point in my career is to make money! Aye, just kidding. Not kidding. My mission is to tell stories that heal or provoke critical thinking.

That’s probably the least funny thing,

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but I honestly think comedy is meant to heal and grow us. I also want to support indigenous art in general, no matter the medium.

You’re up to so much nowadays. What are your goals for your personal growth?

Goals for my personal growth include finding greater self-love and acceptance.

I’ve always been my most prominent critic. It’s my goal to have my own back more often. I want to “ride or die” for myself.

Have you had any memorable or joyful experiences so far?

Navigating new territories has been one of the most joyful experiences of my life.

From the east to the west coasts, New York City to L.A., and many many Rez roads, I have seen the most beautiful humanity in this crazy country. Yet, I feel so young and have so much to do and see. I don’t ever take it for granted, and that keeps me striving for new knowledge. I’m just this Native girl from Oklahoma. I never thought I’d see a skyscraper or the ocean.

What are some struggles you deal with?

One of my biggest struggles is that I’m not that funny. Aye! But for real, I’m not for everyone. I’ve accepted that from day one, but I enjoy comedy so much that it’s more for me than the audience.

I would love to say that I do comedy for “the people,” but the reality is I do it for

me. Sounds pretty selfish, I know, but all I’ve ever wanted in life was to be me. I’m a smart-ass, and I challenge authority, and at the same time, I am reserved and antisocial. I don’t enjoy being on social media. I mean, I enjoy creeping on everyone else, but I don’t want to post anything myself. It’s too much energy. So I guess you can say my biggest struggle is my laziness. I only have enough energy to clean, cook, care for my kids, tell a couple of jokes, and go to bed. Posting on social media and laundry have to wait.

I jot ideas down in my everyday life then take them to stage and bomb them, then rewrite them, then bomb them again, then rewrite them again, and keep doing that until the crowds like it.

What’s a significant accomplishment you achieved recently?

I feel like one of my most significant accomplishments is being my boss, and feeding my kids, all while chasing my creative dream. I think successful in just paving my path. An Emmy-awardwinning mainstream comedy legend who mentored me is one moment that stood out. To see other comedians rooting for me always makes me feel proud.

And lastly, what is your hope for future artists?

My hope for future artists is that they will be heard worldwide. We have been invisible for too long.

PHOTO: COURTESY

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The Insider

How Missy Whiteman is breaking the mold in multimedia...

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issy Whiteman (Northern Arapaho and Kickapoo) understands her work is to be a voice for her ancestors to foster a deeper understanding and to cultivate positive change. While based in part on traditional cultural ways and ideas, her work also addresses themes of loss concerning larger cultural forces and the rebirth process of healing and redefinition of cultural identity.

Many of Missy’s short films incorporate indigenous languages, teachings, and values and have screened for audiences ranging from intertribal to local urban venues nationally, like The Walker Art Center and National Geographic All Roads Festival.

Currently, she is a recipient of The Sundance Native Lab Fellowship and Jerome Fellowship for her short film project The Coyote Way: Going Back Home.

Rooted in the arts at an early age, Missy was raised in an artistic home. Her most significant influence is her father, Ernest Whiteman, who taught her how to envision the world as an artist. Missy’s upbringing in Minneapolis, Minnesota gave her the opportunity to learn and grow

in her artistic abilities because of her relationships with other Native artists and filmmakers of various social and ethnic backgrounds.

Missy continued her pursuit of the arts when she attended the Minnesota Center for Arts where her artistic and healing creative process first developed. She later attended the Minneapolis College for Art and Design for Filmmaking and Photography where she continued improving her skills as a media artist and filmmaker.

Today, Missy is also a film and media consultant with Independent Indigenous Film and Media (IIFM) alongside being a filmmaker. The production company’s mission is to help educate and empower media self-sufficiency by providing digital media production, video training, and visibility for communities, organizations, and youth. As a digital media and producer and consultant, she also partners with larger institutions and organizations, specializing in digital media workshop facilitation, video screenings, film & video programming/curation, public speaking and artist residencies.

PHOTO: COURTESY

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The Insider

PHOTO: COURTESY

Q&A

Tala Tootoosis Tala Tootoosis is well-known throughout Indian Country for her storytelling, ribbon skirts, and inspirational quotes. We sit down with Tala and listen to her story of perseverance and resiliency.

What's your tribe? Tell us a little bit about yourself.

I was born in Saskatoon Saskatchewan, moved around a lot since I was young. I’m from Sturgeon Lake First Nation, Saskatchewan. I am Plains Cree, Nakota, and Haudenosaunee (Mohawk). I am, by bloodline, Plains Cree because my mother Violet Naytowhow is Woodland. My late father Tyrone Tootoosis was from Poundmaker First Nation. He was Plains Cree.

When I was a little girl, my mom moved to Akwesasne, New York. We lived there until I was 11 years old, and while we lived there, the Bear Clan mothers adopted us into the Bear Clan of the Akwesasne Longhouse. Then we were given names from that clan; we were called “adopted, hung about the neck” as my mom told me. I have asked other Clan mothers, and we were told to say that we are Mohawk and that my name is Atewarines which means She Who Leads the Wind. So I come from the Bear Clan of Akwesasne. There is a lot that comes with these connections: the creation stories, the prophecies, the medicines, the songs, the dances.

They all make up my identity and how connected I feel to Mother Earth at any time I feel lost or lonely.

I can call on these elements of culture because they remind me of home within my spirit, which nobody can take away from me.

What treatments and holistic therapies do you find most useful?

I believe that if someone wants to get healthy and sober from addictions, traditional medicines and ceremony are the best therapies and treatments.

Every individual is different so it should be a case by case basis. When someone sobers up from drugs and alcohol, especially hard drugs, it can be difficult to decide if the person is struggling with mental health issues or if they are coming down from the drug. When I was on crystal meth, I had drug-induced psychosis. I suffered from the same symptoms as someone who was schizophrenic and bipolar, but I was not. I was merely a drug addict and going through withdrawals. When I first sobered up, my grandmother made traditional medicines which helped the drug to push itself out of my body. The doctors tried to give me antidepres-

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sants and valium, but I did not want to take them because I didn’t want to be dependent on anything else. I wanted to know what it felt like to be happy in a way that meant there was no influence from any outside stimulants, sedatives or substances of any kind. I started to read books that taught about self-love, forgiveness, and self-reflection, like books

by Don Miguel Ruiz and Deepak Chopra. I started eating healthy foods, drinking water and preparing for the ceremony as Sundance was a massive part of my transformation as well.

Give us an example of the daily challenges you face.

On the daily, I face challenges such as anxiety. I cannot drink too much coffee because caffeine triggers my body, so I can only have one cup of coffee or tea a day. I have to work out and have a good sleep to be able to function like a regular person and be productive. I use sensory therapy like essential oils and smudges to help me get through my days and anxiety.

Are there unique strengths you would like to share?

I think one of my unique strengths is my ability to fight, to keep going no matter how hard life is and no matter what is going on, and I believe it does come from the very fact that I promised myself I would not ever again let myself go down that road of self-defeat.

What values and cultural integrity do you find essential to demonstrate as an advocate and fierce voice for indigenous women?

I think that as a human being, as an indigenous woman, it is essential to be real, to be raw to be respectful and to be kind as best as we can be. I also think it is necessary to state boundaries, not to let others walk all over us and to know we can question traditional concepts that implement teachings with shame and force. I think we need to be able to question colonial ideas and decide if it is the nun or the priest from residential school that is speaking when someone is telling you teachings or that you are disrespectful in any way. However, don’t get me wrong, I think we need to respect elders, but we also

need to make sure that we are respected and not belittled, bullied or abused emotionally or mentally.

There is a lot that happened in residential school, and we have never indeed dissected our culture and traditional teachings to wonder, what part of this is the Catholic church and what part of this is our ancestors' teachings, where is the patriarchy and where are the resilient Kokums teachings. All I know is if my mom believed did not have an open mind and believe that medicines were more powerful than the sickness of addiction that had taken over me, I would have never recovered from actively using hard drugs or drinking alcohol.

What are your hopes and concerns for aspiring indigenous female visionaries and leaders?

I hope that our indigenous leaders, will stand up to all the patriarchy in our teachings that have slithered their way into our teachings and our lodges and kill its existence with an educated, cultural, resilient mind and voice. I hope they learn that beauty exists in all of us indigenous women. It lies in the laugh lines of our kokums' faces, in the cries of our mothers' healing, and in the breaking of cycles that were meant to kill our spirits. Rise up to raise children to be revolutionary thinkers and resilient powerhouses that speak to anything that attempts to destroy what our ancestors sacrificed for us to have that keeps us alive and free.

Would you like to share your creative process as an artist or motivations?

My creative process for sewing is praying and talking to the grandmothers and grandfathers of the person who I am making a ribbon skirt for. I usually listen to healing podcasts, thunderstorms, and nature playlists. I smudge and sing resilience and power into my skirts as I see them as power for the women I make them for. When I am quilling, I pray and smudge and try to focus as I have to use the quill that I just put in water as fast as I can before it dries. When it comes to my poetry, I usually write out stories of things that I have experienced or seen and want to tell others about it in a very magical way. Poetry helps me to tell stories without being entirely triggered or reliving it again.

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The Insider

Leading by Example Meet Carrie F. Whitlow, a successful college grad who returned to her community to help her people.

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arrie F. Whitlow once struggled with her identity as a Native American woman while she was attending university. Now a successful college graduate, she set out to acquire her degree so she could go back to her community in Oklahoma and help her people. We listen to her story about overcoming her struggles and how she's now proud to be Native American.

What's your tribe? Where are you from?

I’m an enrolled Cheyenne-Arapaho, and I’m Kiowa and Creek as well. My Arapaho name is Nanak’ate Hisea, which means Light Hair Woman in English. I am the daughter of Dara Franklin and the late Billy Whitlow, and the granddaughter of the late Arapaho Chief Virgil Franklin, Sr. and Violet Youngbear Franklin, and the late Geraldine Tallbull Morton and William Whitlow of Chicago, Illinois.

What’s your mission statement you live by?

I believe in social responsibility and giving back to my community.

What were the factors that influenced you to choose your career path?

Attending Haskell University directly impacted my decision to move home and pursue a job with my tribe. Had I not attended HINU I would have never thought to work for my tribe. Being in an environment with Native American students who were culturally sound, intelligent, and motivated to receive their education with intentions to work for the tribe. I realized I wanted to return to the Cheyenne and Arapaho tribes. I dedicated the past twelve years in various capacities and have been promoted on several occasions. I currently serve as the Executive Director for the Department of Education as well as the Treasurer for the Tribal Education Department’s National Assembly (TEDNA) as the Parliamentarian for the Oklahoma Council of Indian Education (OCIE).

Both organizations work nationally and locally to ensure our Native American students have equal opportunities in public school systems.

Who was your mentor and how did you establish the relationship with them?

My first true mentor was Albert Gipp, and he was my track and cross country coach at Haskell.

He was an instructor for one of my classes, and I knew that he coached track and field and cross country, so I asked to run track to stay in shape

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PHOTO: COURTESY

for basketball. I ran outdoor track for one season and chose to run cross country in the fall. Running changed my life because of the way Mr. Gipp coached me. He always made sure we were taken care of on and off the track. Also, his wife Freda Gipp was our team mom and treated us as if we were apart of their family. That meant so much being away from our families. Even though I had graduated from HINU in 2005, I remain connected to the Gipp family as they continue to guide and assist me with my professional career.

What values and cultural integrity do you find essential to demonstrate as an indigenous woman?

Staying true to who you are and where you come from. Also, my grandpa always told me to be good to people. He’d say it doesn’t matter if you like them or not. I find that more relevant as I’ve gotten older because it’s essential for working with people and building relationships.

Tell us about your most significant accomplishments and struggles. What stands out the most?

The most significant accomplishment has been graduating from the University of Oklahoma with my Master’s degree and completing twelve years of employment with my tribe. The most significant struggle has been internally and dealing with my identity as a Native American woman. My tribe does not have a reservation and live near Oklahoma City, OK so, therefore, I am an urban Indian. I attended a high school where the Native American students were the minority. Keep in mind I was raised by a family who was very much in touch with their Native identity and regularly

attended cultural ceremonies and social events.

It wasn’t until high school and having a majority of non-Indian friends that I realized this wasn’t so-called, “normal.” While attending school there, I had several experiences of being treated differently or being made fun of in which I believe because I was Native. I struggled with what was right and appropriate to share about myself and my family depending on who I was talking to.

As a senior, I decided to attend Haskell Indian Nations University because I wanted to play basketball. It wasn’t until I was in a space okay enough to talk freely about what tribe you were, where you were from, and who your family is were common questions from my peers. Wearing our traditional regalia, speaking your language, and cultural knowledge was the norm. I never fully realized this was my struggle until I was in graduate school. Once again, I was the minority in a predominantly white institution and questioned why I was there. In my mind, I thought, “what can I contribute to a classroom of students who attended Division I schools and I only attended a small TCU?”. My advisor, who promoted and supported diversity, reminded me that none of those students were going to know about anything about TCUs and Native American student struggles unless I told them. She said to me that I was a Native American woman and that women have a harder time in administrative positions but its also harder as a woman of color.

What do you hope for aspiring indigenous female visionaries and leaders?

To lead by example and to also never apologize for who you are. nativemax.com

The Insider

Michelle Reed Michelle Reed needs little introduction in Indian Country - her influence transcends her many titles. Dancer, beader, seamstress, fashion designer, fitness trainer, doll-maker, producer, mother, daughter, wife, friend: she is all of these things and so much more.

BY DARREN THOMPSON (OJIBWE)

Michelle dancing at “The Western Experience” in the Netherlands. (Photo: Paul Looijestijn)

Michelle Reed (right) with her mother Linda Cohen (left) at the Indigenous Peoples March in Washington DC. (Photo: Mike Garcia)

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er journey began before she realized it by watching her mother Linda Cohen bead, sew, create, and dance all while raising her and her siblings with her father Michael Cohen near Marquette, Michigan. She recalls an upbringing feeling loved, welcomed, and cherished by her family all while proud of their Ojibwe heritage, but also feeling ashamed of being “different” and made fun of by her non-Native classmates for being Native.

Challenged by such reminders from her upbringing, she has steered a career that has blossomed into three separate business initiatives—fashion, fitness, and dance production— with the aspirations to share the beauty of her culture and to ensure those who are feeling confused, or ashamed, of their heritage, have something to be proud of. She does that in so many ways by traveling to various communities teaching women and girls to dance, bead and sew. As of lately, she’s been frequenting the Akwesasne Mohawk to conduct ribbon skirt classes and provides her trademark N8V Dance Fitness courses to children as young as six months old.

Michelle is an enrolled member of the Lac du Flambeau Ojibwe in Northern Wisconsin and has shared her passion and culture with people and communities from all walks of life. Although Michelle spends much of her time in communities throughout the Northern Great Lakes, near her home in Northern Michigan with her husband and two children, she often travels to communities far and wide.

Most recently Michelle and her family went to the Netherlands to showcase their culture at “The Western Experience” - the largest Country and Western festival in Europe offering locals the opportunity to learn about Western and Native American culture in a funfilled setting.

She’s been dancing since as long as she can remember and creating world-class regalia and fashion full-time for the past several years. Her craftsmanship is always evolving and ever improving, building intense anticipation for her next creations to be revealed.

With her designs having walked the red carpet at the Grammy Awards and having danced for audiences in the tens of thousands throughout the world, it is fair to say her influence and impact on Native culture is immeasurable.

However, over the past several years she has dedicated more of her time to a new audience -Indigenous girls. She and her family have been hand-making dolls that she calls Indigenous girl with the

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Indigenous Girl dolls with their new owners.

(Photo: Michelle Reed)

intention of empowering young Indigenous girls to be proud of who they are and where they come from.

“I hope that these dolls speak to us in a way no other doll has,” says Michelle. “Each piece is made as a miniature of the actual regalia.” With the help of her sisters, nieces, and daughter, they personally design, sew, bead, and dress each doll with as much detail as her world-renowned fashion and regalia. Her most recent dolls represent Ojibwe Jingle-dress dancers, which is central to the Ojibwe culture.

She explains, “each cone is put on by hand, each pair of moccasins made of leather and sewn together just like we do our own.”

Michelle remembers being a little girl and having no cultural connection to dolls, toys, and items available in stores. “I make dolls to represent Indigenous girls because I remember what it felt like as a little girl wanting to connect with someone, something to look up to,” says Michelle. “Seeing the faces of young girls when they receive one of our dolls makes all this work worth it.” She emphasizes that today we are in an age where Indigenous women are making history and now, more than ever, “Indigenous girls can do anything they set their minds to.”

But her work doesn’t stop at empowering young girls. She wants to empower other artists to do this work as well, especially stay-athome mothers. “My goal is to make this idea of doll-making grow,” expresses Michelle. “I want to work with other artists to meet the demand that is needed to make these dolls accessible not only to our girls but to all girls and all families.”

Although the future looks like the sky is the limit, Michelle explains that she wants to participate in every doll she makes and wants to avoid mass-producing. “I want to use the same process as a real dress when I make my dolls,” says Michelle. “Doll-making is intricate, and I want every girl, every family to feel special when they get one of our creations from our culture to theirs.

Every child’s heritage is important is the message that I want my dolls to carry.”

“Every child’s heritage is important is the message that I want my dolls to carry.”

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On the Cover

Tonia Jo Hall: Fierce & Funny You’ve certainly watched one of her videos on Facebook where she shared life lessons as Auntie Beachress or funny anecdotes about everyday life in Native communities. Or saw her perform live on stage at a comedy show or on the Powwow dance floor across Indian Country. Either way, Lakota, Dakota and Hidatsa comedian Tonia Jo Hall is unforgettable, fierce and funny.

PHOTOS BY HOPE BAKER (3 AFFILIATED TRIBES) MAKEUP BY CHRISTINE BLAKE (3 AFFILIATED TRIBES)

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On the Cover

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or Hall, language and culture are vital as not only is she continually learning more about her Lakota, Dakota, and Hidatsa cultures, she’s also teaching her daughters, too.

“It’s important for me to teach my daughters their identity and learning the language is a key component in that.” Dancing is another opportunity for her to express her appreciation for her culture. She admits being a “powwow addict,” as she travels across Indian Country as a Jingle dancer and participates in powwows.

Although Hall’s upbringing was tough, it taught her to be different for her children. “My parents raised me to learn from their mistakes of using alcohol to self-medicate,” she explained. “I chose to be drug and alcoholfree for my children. It’s always your choice to become who you want to be, and there is always the opportunity for you to make the choices to be a better person.” Laughter helped Hall focus on the good in life and get through hardships. “Growing up on the Rez, we’ve continually strived through hardships with comedy and laughter.”

Hall began making Youtube videos in 2010 and continues to create new content that relates to Native people. “I’m grateful I’m able to spread happiness to others, this is what gives me joy, and this is what inspires me to continue to chase this dream.” Her videos help connect everyone in Native communities across the country through humor, which is her ultimate goal.

“I love being Native American, and I believe that we all should be proud of who we are as Native people. This is why I make Youtube videos. It allows me to reach out to my people, to teach them to smile, think positively and spread laughter.”

We were blessed with the opportunity to sit down for a conversation with Hall before she danced at the Seminole Tribal Fair and Powwow last month.

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On the Cover Have you always been so hilarious your whole life?

Were you ever able to take anything seriously?

Why was it so important to laugh and be funny growing up?

Yes! I remember being a little girl cracking jokes on my mom or dad. I grew up with teasing and looking at the bright side of difficult situations.

Yes, there is a moment I am serious. Every situation requires us to be a different version of ourselves. Laughter and being funny helped me focus on the good. It made me happy to hear others laugh and see them smile. It gave me a natural high. Growing up on the Rez, we’ve continually strived through hardships with comedy and laughter.

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On the Cover

Has humor helped you cope with struggles? How and why?

Humor has helped me through some struggles. I had to grow up quick on the Rez. My parents were functioning alcoholics.

I felt obligated to care for them when they were intoxicated. I used laughing and making others laugh as my medicine and my healing tools. Even though my mom or dad would have parties at home, I got to escape with friends and be me. I love making people laugh. Despite my parents’ choices, I love them, and I’m thankful they loved me.

When did you decide to pursue comedy?

I was in college, in between getting my Associates and Bachelors Degree when I was coming out of a very abusive relationship. I needed to find myself because I lost myself.

I started by making funny videos relating to Natives. It felt good, and it helped light my fire again. Soon I felt strong enough to volunteer around my Rez at different events. The feeling of being on stage all alone empowered me. I had the gift to make people feel good by laughing. I’ve been chasing that feeling for about seven years now.

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On the Cover

When did you decide to create social media videos?

Did you ever think they’d go viral?

In 2011, I started making videos. I didn’t have a fancy phone or camera. I was a broke college kid with two babies in Pampers. I just wanted to make my people laugh. It was my way of giving back, even if I only had two likes at the beginning. My goal was to reach the little kids to the elders.

I wanted our people to have access through a screen from the comfort of their homes and to see a woman with brown skin, black hair, and a Rez accent. I wanted our people to understand ourselves and be proud. We are a strong nation. We love to laugh and have fun. Going viral wasn’t on my mind. Making others laugh was the goal.

You’re also known for Auntie Beachress. Tell us about Auntie Beachress and where did she come from? What was the inspiration?

Auntie Beachress is a recipe of all the powerful grandmas, aunties, hunka (Lakota word for adopted) relatives, and my mom. We have some strong women in our nations.

“Auntie B” is just a preview. She’s a teaser.

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On the Cover

You’re also an award-winning jingle dancer. How important is your culture to you? How does that intertwine with your life and career?

I’ve been dancing since I could walk. My mom brought me into the circle, Anita Manywounds, who was a champion fancy dancer. She taught me the moves and songs.

Dancing amongst my people at powwows has helped me balance my life.

The movements, the jingle dress, and the drums are healing. Continually learning the Lakota language and culture is a requirement. I strongly feel that language is the key to our songs and ceremonies. I’m still learning, and I’ll never stop. Share what you know.

Visit elders or medicine keepers. Ask questions. Record audio. Journal. Pass on the knowledge. The biggest learning lesson I’ve been having is to listen. That’s when you learn the most.

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On the Cover

The theme of this issue is Breaking the Mold and focuses on Indigenous females who are breaking the molds of their industries. How are you doing that and why is it vital for native women?

In both mainstream comedy and also in Native country, there isn’t a lot of females. I chose to break the mold by making funny videos and doing stand up comedy. It’s been a predominately male industry.

There have been many times I felt like giving up!

I’ve cried with frustration. It’s not okay for men to sexually objectify us as women. Disrespectful men are using harmful words. I’ve had to stand my ground and use my voice. My voice is my power, and my power is my voice. I had to teach people how I want to be treated.

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On the Cover

“The feeling of being on stage all alone empowered me. I had the gift to make people feel good by laughing.”

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On the Cover

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The woman behind Red Berry Woman, Norma Baker-Flying Horse, pictured with her gowns.

The gown on the right has been worn both on the red carpet and on stage at the Oscars last year. Best known for her ledger art-thread work on various men and women garments, Flying Horse incorporates tribal textiles commonly used on tribal wear into contemporary one-of-a-kind pieces.

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Breaking the Molds and Finding Balance How did NORMA BAKER-FLYING HORSE evolve from the humble beginnings of making powwow regalia at home to becoming one of Native fashion’s must-have label?

By breaking the mold, of course.

PHOTOS BY ZOE FRIDAY (ARAPAHO) MAKEUP BY COURTNEY ROCKE (LAKOTA)

D

uring the prestigious Paris Fashion Week in the world capital of fashion this year, Hidatsa, Dakota, and Assiniboine fashion designer Norma Baker-Flying Horse showcased her newest collection alongside internationallyknown designers late last month. Hosted by Fashion Week Studio during the famous fashion week, the runway show was celebrated at hotel d'Evreux, place Vendome in Paris. It was a beautiful and empowering statement that spoke to the advancement of Native fashion on a global scale. Flying Horse is an indigenous designer hard at work, promoting her fashions not only on runway shows but award shows as well. She’s the first contemporary Native American fashion designer to have a gown worn at the Oscars early last year. And just last month, well-known Mohawk and Lakota journalist Corinne Oestreich wore a custom Red Berry Woman gown at the 2019 Grammys. Flying Horse is certainly on the cusp of becoming an international fashion designer, which is why we decided to feature her in our Breaking the Mold issue.

Late last month, you were the only indigenous designer to participate in Paris Fashion Week.

Tell us about Paris and participating in Paris Fashion Week. What were the response and reactions?

It was an experience of a lifetime. I not only got to see the city known for fashion, but I got to showcase my fashions on the runway among so many amazing designers. I can’t put into words how much that meant to me. However, this wasn’t my first international show. I showcased my work during Vancouver Fashion Week in Vancouver, B.C. Canada in 2018 with various international designers. The experience there helped me to prepare for Paris Fashion Week.

The response to my work in Paris has been fantastic. I’ve had so many people reach out to me, both Native and non-Natives, with words of support. My orders have increased, so I now

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Flying Horse comes from the Fort Berthold Indian Reservation of North Dakota. Her line Red Berry Woman is a collection of formal and semi-formal wear with a Native design touch to each look.

have to work a plan to try and fill all the requests I have received in the last few weeks.

You styled Tonia Jo Hall for the cover of this issue, what was that like?

How did she inspire the design of the skirt?

I have known Tonia since we were young girls. She comes from the same reservation as me, the Mandan/Hidatsa/Arikara Nation by way of her father. I’m so very proud of her accomplishments as a Native woman in comedy and public speaking, so it was an honor to style her for the cover.

I chose a ribbon skirt with bright colors to match her beautiful personality and designed it with one of my Red Berry Woman horse riders that symbolize the strength indigenous woman naturally have, a strength Tonia has displayed time and time again.

The theme of this issue is Breaking the Mold and focuses on indigenous females who are breaking the molds of their industries. How are you doing that and why is it vital for Native women?

As an indigenous fashion designer, I believe that each piece I create not only represents my taste and style but the history and culture of my peo-

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ple: the Hidatsa, Dakota, and Assiniboine tribes. The idea behind Native Fashion is to bridge an old world of where we came from with a new world that was imposed upon us. Molds of what fashion is supposed to be according to the fashion industry —or in the case of indigenous people, the government— are the molds I set out to break. A formal gown adorned with dentalium shells instead of rhinestones, a ribbon skirt in place of a business skirt, or a cultural design sewn onto a shirt in place of a boutonniere or tuxedo vest; these are all ways we are breaking the molds and finding balance with our fashions.

How do you connect and work with other native women? How do you help others who are interested in what you’re doing?

I’ve been fortunate to meet other women designers who have an amazing passion for the work they do, who they are and where they come from; they all truly inspire me. I’ve also gotten the opportunities to meet women who are in the fashion industry as models, photographers, and various other positions related to the runway. We need to promote one another and share what we learn about being designers and business owners. There’s plenty of room for all of us to flourish no matter what we chose to do, and we shouldn’t lose our basic tribal thought: that we are stronger together.

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On Radar

5 Minutes with

Suspended We meet up with all indigenous-female Rez Metal band Suspended members Channing Concho, Jessica Armstrong and Amanda Castillo.

STORY & PHOTOS BY VIKI EAGLE

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three-member band begins setting up their instruments on stage at the Launchpad in Albuquerque, New Mexico, a bar venue with band posters of the local heavy metal scene covering its walls. This venue has hosted multiple bands from the Rez Metal scene that I have featured in pursuit of our documentary titled “Ancestors: Rez Metal.” The stage light reflects the stage with a couple of white beaming lights. A five-piece black drum kit is carried onto the stage by a young woman

named Channing Concho, who is of the Pueblo and Hopi nations. Sitting behind the drums, she sets her symbols within her reach. Meanwhile, Jessica Armstrong, of the Diné Nation, puts her bass strap on, plugs in her sound, and readies her mic as she's not only the bassist for the band but also a vocal singer. Lastly, Amanda Castillo places her microphone in the stand while holding her white flying V guitar. “Most of the time people wonder if we are going to sound like Kittie,” Concho tells me. The -

Jessica Armstrong Channing Concho

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Amanda Castillo

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On Radar

If you’re looking forward to learning more about Suspended, follow them on Facebook/Suspended. For upcoming documentary “Ancestors: Rez Metal”, follow Wohehiv Films and Real Life Indian on Instagram: @reallifeindian and @wohehivfilms. Rez Metal website REZMETALHUB.COM launching soon!

ladies of Rez Metal band Suspended are now ready to perform.

Before ever meeting Suspended, I never imagined the kind of sounds of heavy metal I would experience by visiting their first show. That is until sound check. The sounds of what many might describe as "cookie monster vocals" were present. I was intrigued, needing to know more about their style of music. With beautiful melodic sound, acoustic flamenco intros and the loudest sounds of thrash metal combination I have ever heard, I stood watching at the crowd of Natives moshing and headbanging to their heavy metal. After watching Suspended perform and photographing them, I knew I needed to learn more. I have never seen an all-Native American women band perform in heavy metal the same way Suspended did.

I drove to Castillo's house in which they graciously let me visit during their band practice time.

I began the interview with Castillo and Concho first, with Armstrong joining us later.

What is your musical background and what's the genre of Suspended?

Castillo: I wanted to learn to play listening to Metallica and Black Sabbath and Ozzy. I got my first acoustic guitar and learned to play Metallica Intros.

Finally got an electric and wanted to start a band and found Channing and started jamming.

Concho: It's light to rock and roll to thrash to a little bit faster thrash into melodic. It's really a whole mixture. Amanda likes to call it "ADHD riffage."

Because we progressed from the time we started, which was basic metal and thrash into melodic, a little black and death metal. We are subgenres of metal.

Armstrong: I am Navajo from Gallup, New Mexico.

I grew up traditionally with Native American music.

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From my siblings, we listened to a mix of everything, from hip hop, rock, and heavy metal. I was surrounded by different types of music. My parents liked country and oldies. Didn’t get into heavy metal until my brother took me to Ozzfest 2004. That’s where I got hooked to heavy metal. I wanted to play guitar because I saw it on a video, and got inspired to learn an instrument. I tried guitar for a bit didn’t work out, didn’t have the patience for it. Then I met a guy in high school who was looking for a bass player. I told him sure I will try it until you find a new bass player. And I didn’t know how to play bass, and he started teaching me how to play it. And it felt right; so I kept playing bass from there.

have seen her play at a show one time and I was like where is this girl? I knew she played bass. And we lost our bass player. I went up to her and asked her to try out. And she contacted Amanda, and here we are.

How did Suspended start?

Concho: I am Hopi, Acoma Pueblo and enrolled in Laguna Pueblo. My mother and I would spend summers on Hopi, but I resided in Albuquerque since 7 or 8 years old. I eventually went to high school in Laguna. That was the same time we started forming the band. We would practice and play there.

I met Amanda through mutual friends. She skated a lot, and we ended up hanging out. We just started hanging out and found out she had instruments, and her dad bought her instruments. And we started playing around with the instruments. When we started our band, there were five of us chicks, and we wanted to be in the talent show. We started messing around and made our first song. It was the first show we ever performed at; the West Mesa Talent Show at West Mesa Performing Arts Center which is now called the Randy Castillo Performing Arts Center. It was kind of special for our meeting there. So that’s how we started.

We found Jessica later. I saw Jessica play bass at one of my dad's fests. He put on a fest called Buck Fest. She was playing in a band called Dismay. I

Who are your biggest influences?

Mandy Roads. Black Sabbath and Metallic. I love 90's gangster rap, New Mexican music, death metal.

We are diverse in our influences. Old school and early thrash like Slayer. I like Flamenco guitar and acoustic intros. Amanda was in classical guitar, and you can see that in our music.

What is your songwriting process?

Castillo: I always write the music first. Riffs upon riffs and then we finally figure the structure and listen to it. And a topic that reminds me of. And then I throw down the lyrics. It varies in lyrics, some of it is made up stuff and horror stuff, but a lot of it is general personal experiences of mine, being angry or betrayed or taking vengeance.

What would you say is your most significant accomplishments?

Tour with Nervosa was our longest tour with consecutive five shows in Canada. I would say that is our biggest accomplishment saying we are a DIY (Do it Yourself) band. Meaning we do everything ourselves. We don’t depend on a manager, we don’t’ have a booking agent, we strictly do business all on our own, and I think that is the key to get on these bigger shows and tours. And we make our own name for ourselves than depending on someone else.

Concho: We have been featured in Indian Country Today and radio stations like Native American Calling. I have been featured in Tom Tom Magazine for female drummers. We have also help petition West

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On Radar Mesa Performing Arts Center to be Randy Castillo Performing Arts Center. And the large bands we have opened to before. The fact these bands ask us to open for them is big for us and not having to beg for a show like we used to. But we paid our dues; that’s what we used to do, play any show and every show. But you have to start out like that. Everyone does.

Any female artists you look up to?

Castillo: Nervosa is definitely a band we look up to them. Elizabeth Elliot is a big influence of mine too.

She plays in Dreaming Dead, and she is an amazing guitarist. There are so many good female guitarists in like LA. Concho: I think most of them for us are underground and we actually got to meet them and converse with them. And you get more inspired by being able to do that and not just see you know someone being famous on a cover with skimpy outfits and it's more real to us. And for me, since we have been on tour with Nervosa, there is a drummer from Canada who filled in for their last drummer and kind of went her own separate way. But Samantha Landa is who we have become good friends with, and we chat regularly. She plays in a band called Dead Asylum, and she's also a touring drummer. She has been a big help in helping me find my own style and feels.

I give her a big shout out for the pedals I use now, the demon drives. A lot of them are in the LA scene and other females band Harlequin, Infinite Death, and Nervosa. They are an indigenous Brazilian band from South America.

RIGHT: Channing Concho (Pueblo/ Hopi), is the drummer for band Suspended.

(PHOTO: VIKI EAGLE) BELOW: (L to R) Vocal singer and the bassist for Suspended Jessica Armstrong and Amanda Castillo, who is the band’s lead singer and guitarist, practice together.

(PHOTO: VIKI EAGLE)

If you can change one thing about the music industry what would that be?

Channing: I would probably say the process of having to get discovered by a label. Most of the time you are sending your stuff to them. You know CD’s, tapes, mp3's, and write a whole bio and this and that. I think it would be cool if many of them went out to different states and cities and scout these bands themselves and see how much they do. And I feel that could be different in the music industry because sometimes you get the same kind of bands, I mean like in LA you get the same bands like retro and death metal, and it sounds the same since they are in the same circle. Scouting elsewhere.

It's easy to get your music out there but not pumping out the music. A lot of the band and metal on the road are doing it themselves, and they don’t get a lot of help from record labels unless they're big.

Amanda, what is it like being a mother in the band?

Castillo: They are here with us in practices. Before I was a mom, we would have curse words in our early songs. But now we do not even write with profanity anymore. I find other ways or other words to express myself. I think it's cool to see woman empowerment.

And powerful women just doing what you want and being good at it and having fun. Maddy runs around and starts making death growls and says to me, “I sound like mama.” She is funny. They love to come into the practice room and play around and love to sing. They see the musical stuff going on, and they want to be a part of it. And it's awesome for us cause that’s what we want too. Start with the next generation.

What values and cultural integrity do you find essential to demonstrate as an advocate and fierce voice for Indigenous woman especially, in a maledominated industry?

Concho: To stand strong and keep doing what you are doing as a female, especially in Pueblo where the women are the head of the household. We always take care of the men, but in the same way, I feel we should be respected in the same sense. Where, you know, we see the females and help them out and same kindliness as another "bro band" would. And

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for me, that is the respect in an all-female band.

The fact that we are all Native American you don’t see that very much at all. So being able to empower women and being Indigenous and being able to show them, "look we started on the Rez too." We’ve have been jamming out in Laguna Pueblo since we were 17 years old and you can get shows; you can put something together even if it’s doing it yourself.

More than ever I find that women are standing up and doing things themselves. I think that is the biggest highlight of it. We value our community and do free concerts for the community and Rez. We have an upcoming show to raise awareness for missing and murdered Indigenous women Castillo: Definitely, strength and confidence. Cause a lot of people are very supportive, but we do also run into those guys when we are bringing in our gear. “Hey sweetie, why are you carrying your boyfriend's guitar?” You know, stuff like that and we are like “oh well whatever let's just do our own thing.” And then after our set, they're like “Holy crap, I didn’t know you could play guitar!” Another part would be respect. We try to be respectful to

everyone: bartenders, venue owners, people we stay with. It’s a big circle. We can’t do it without them and vice versa.

CONCLUSION What I appreciate the most about Suspended is the values they have for each other. The positive outlook they have for their community including continuously advocating for the youth and Native women is in their core. What I admire so much about the Rez Metal bands have been the DIY, or Do It Yourself, mentality of being a Native American or Indigenous band. It's reclaiming our right to self-determination and sovereignty through using our agency, resources and the tools that we have right in front of us. Rez Metal teaches me that there are no excuses to change our own lives, by focusing on what we do have and not on having this item or that resource to not push for our dreams. By using our inner strength and spirit, we can change our lives on our own. They've all inspired me that if you have a dream and vision, make it happen by getting creative with the mindset of “in any way possible,

make it happen.”

MARCH/APRIL 2019 | NATIVE MAX MAGAZINE 41

Until Later

Illustration by Crystal Starr / @north_starr_studios

Let’s come together and break the molds.

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