I started writing this article in what is presently called La Villita in northern New Mexico. These are the lands of Puebloan people, more specifically Ohkay Owingeh, as well as Jicarilla Apache. I’m finishing the article in Muwekma Ohlone lands, presently called the San Francisco Bay Area.
Thanks to NewMusicBox for inviting me to write this article. It’s an honor for me to help bring attention to the vital and extremely varied work of Native artists and communities who are historically, and presently, otherwise too often under-known and overlooked. I’m not an authority on this extensive subject, and I identify as a musician first and foremost. All the same, I recognize that I have accrued some knowledge, personal experience and relationships over the years that I can draw upon. I’m deeply honored to have been entrusted with such a task.
For years now, I’ve been a regular contributor to First American Art Magazine (FAAM) which is devoted to the work of Native artists of this continent. I’ve also had writings published in Full Moon Magazine (Prague), an Anthology of Essays on Deep Listening for Pauline Oliveros’s 80th birthday and most recently Three Fold Press out of Detroit. I’ve learned so much through these processes and from the various editors! I never set out to be a published writer; it’s been a rewarding adventure for me in a lot of ways.
Here I’ll be focusing first and foremost on three Native experimental musicians (Raven Chacon, Nathan Young, and Laura Ortman) who I have had personal experiences with as well as the scenes and communities that they’ve cultivated over the years plus brief segments on three musicians whose work I have covered as a contributor to FAAM (Warren Realrider, Jacqueline Wilson, and Michael Begay).
I first met Raven Chacon (Diné) in 2010 while on a cross-country tour with my Italian band Tsigoti. Raven was involved in a loose knit organization called Coalmine Kollektiv that presented our show in Albuquerque, New Mexico. Since then, we’ve become good friends and collaborators. I’ve covered much of his work in reviews and profiles for FAAM, and we have published works together as a duo including a recent recording of our performance at Array Music in Toronto for my Astral Spirits Traveling Sessions series. As a presenter and space holder for artists, Raven’s been involved in many organizations over the years while maintaining his own community art and music spaces like Small Engine and Spirit Abuse as well as his record label Sicksicksick Distro. I played shows with Raven, John Dieterich, and Jeremy Barnes in both of these community centers and have been able to take in many shows at both that provide opportunities for musicians who have little or no available venues otherwise. On top of that he’s a remarkably prolific composer, working on commissions regularly for performers and performances around the world.
My initial exposure to Raven’s work came from his involvement in Postcommodity, which is a Native artists collective based in the Southwest. At that time the core members included Cristóbal Martínez (Chicano), Kade L. Twist (Cherokee), Steven Yazzie (Navajo/Laguna), and Nathan Young (Delaware Tribe of Indians/Pawnee/Kiowa). The work of Post-Commodity utilizes any and all artistic disciplines and mediums to articulate a myriad of viewpoints, perspectives and expressions. From their website: “Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever-increasing velocities and complex forms of violence.”
The collective provided cover art for two albums from my Estamos Project; jimpani kustakwa ka jankwariteecherï by Estamos Ensemble on Edgetone Records and People’s Historia by Estamos Trio (Carmina Escobar and Milo Tamez) on Relative Pitch Records. jimpani kustakwa ka jankwariteecherï is a direct translation of “compositions and improvisations” in the P’urhépecha language which is mostly spoken in rural communities in the highlands of Michoacán, México, where our violinist Julián Martínez Vázquez was born and presently lives. Postcommodity provided a photo of a graphic score made from ground coal, salt, and rock from the dead Gila River which was part of a larger mixed-media installation called Worldview Manipulation Therapy. The piece was exhibited in 2009 at The Ice House in Phoenix. Worldview Manipulation Therapy “… draws upon the ephemeral, transformative and esoteric aspects of tribal ceremonies — central to the Indigenous worldview.” It’s a reexamination of the on-going postcolonial stress enforced by globalization and neoliberalism. The graphic score was the centerpiece of the overall installation incorporating traditional tribal geometries.
The cover for Estamos Trio’s People’s Historia was a close up of a blood soaked Pueblo drum which was part of a public installation in the Santa Fe Plaza in 2010 titled “P’oe iwe naví ûnp’oe dînmuu/My Blood is in the Water” (mule deer taxidermy, wood poles, water, amplifier, drum). The collective hung a deer in the center of the plaza above a ceremonial drum fixed with contact mics. A bladder of blood was placed inside the cavity of the gutted deer dripping blood periodically onto the drum that was then effected and amplified throughout the plaza. The piece was created in response to the 400th anniversary of Santa Fe from the Indigenous perspective. It’s a tribute to the traditional relationship between people and food/nature in the region. “‘My Blood is in the Water’ is a counter-metaphor critiquing the dominant culture’s process of commoditization, demand/supply and convenience.” It is an expression of the continuity between the present Indigenous culture and the past.
Through Raven and Postcommodity I’ve developed a friendship and working relationship with Nathan Young (Delaware/Pawnee/Kiowa), and have been exposed to and written about the work of Jacqueline Wilson (Yakama), Michael Begay (Diné), and Warren Realrider (Pawnee/Crow) for FAAM.
Nathan Young is a Tulsa Arts Fellow and former member of Postcommodity. He’s presently enrolled in the Native American Art History Ph.D. program at the University of Oklahoma which is the first and only program that approaches the study of Native American Art from a critical perspective rather than within the field of anthropology. I’ve had the fortune to write about Nathan’s work a variety of times for FAAM as well to spend time in his community both participating in and witnessing his work as an artist and presenter. Since I’m on the road perpetually, I have the opportunity to experience the work of others as I travel. This is one of the reasons I’ve been such a regular contributor to FAAM, primarily when I was writing solely about visual art. Sometimes my touring is dense, moving from one city to the next night after night and sometimes it’s more relaxed and allows me the privilege to spend time within communities and scenes, to both collaborate with and document other artists. My partner ACVilla and I have a duo project, Silver Ochre, which is focused on the creation of video art and documentaries that are engaged in social justice issues and the needs of communities. So all of this lends itself naturally to writing about the work of others. That said, in 2018 I was invited by Nathan to perform a multimedia work of Silver Ochre’s as part of his Tulsa Noise programming which was facilitated by the Tulsa Artist Fellowship. I spent three days there getting to know fellows and faculty as well as Nathan and his work as an artist and presenter. (The fellowship has been in existence since 2015, prioritizing opportunities for Native American artists and artists of color.)
Following those few days in Tulsa, Nathan and I drove up to Kansas City for the opening of his art show “Night Music of the Southern Plains American Indian” at the Center for Contemporary Practice at KCAI Crossroads Gallery. (I wrote about this show in the Spring 2019 issue of FAAM.) Situated in two different rooms of the gallery, one room was dedicated entirely to a sacred experience of Peyote, the culture and the ceremony. The other, much larger room included an old pickup truck facing a projection on a screen. The projection was documentation from the opening concert that was held in the parking lot of the gallery. Nathan invited the Southern Thunder Singers to perform what is called 49 music. These are songs typically sung at after parties the nights following powwows, out on back roads or fields, with everyone standing around a pickup truck they are using as a big drum. A certain kind of extended technique! The truck was then brought into the gallery and placed with its headlights facing a screen on which was projected the documentation of the concert. The show ended a month later with students of Dwight Frizzell’s at KCAI performing a graphic score on the amplified truck. The idea was to perform the truck from a western perspective, with a score that the students interpreted with transducers, baseball bats, contact mics, and chalk while Nathan processed the Elton John song “Goodbye Yellow Brick Road” through his laptop.
Jacqueline Wilson is a bassoonist and serves on the faculty at Washington State University. She’s just begun recording an album of works for bassoon by Native composers including Raven Chacon, Juantio Becenti (Diné), Gillian Whitehead (Maori), and the late Louis W. Ballard (Cherokee/Quapaw), slated to be completed in late 2022. She also recently commissioned a work for bassoon and marimba called Nocturne by Connor Chee (Diné). With another bassoonist (Stephanie Willow Patterson, Columbus State University), she is preparing a work by Elizabeth A. Baker titled Collective Collaborative.
Michael Begay (Diné) is a tireless creative force playing in metal bands like Akklamation, which he and his brother started in 2005, as well as writing commissions and teaching in the Native American Composer Apprentice Project, which has been part of the Grand Canyon Music Festival since 2001.
In 2018-2019 Michael was the Composer-in-Residence with the South Dakota Symphony Orchestra. Recent commissions include a work for Orchestra Northern Arizona, a solo composition for the Italian pianist Emanuele Arciuli, a string quartet for Black Dog String Quartet, and a duo for violin and piano performed by Stefan Milenkovich and Renata Yazzie (Diné) at Northern Arizona University’s Native American Cultural Center. He was invited to study composition at the Peabody Institute beginning in the Fall 2021.
Warren Realrider performs under the moniker of Tick Suck and has been a regular contributor to Tulsa Noise. Warren Realrider (Pawnee/Crow) is a multidisciplinary sound artist based in Norman, Oklahoma. He created the Tick Suck noise performance project in 2016 and has since presented his solo works and sound performance collaborations in varied Tulsa and Oklahoma City settings. His piece IIII Kitapaatu, presented at the Tulsa Noise Fest in 2019, is featured in the forthcoming documentary Love and Fury by Sterlin Harjo. Realrider works within the liminal space between object, function, and ceremony to extract sound sources which are then processed and deconstructed utilizing contemporary music technology. Elements of harsh noise, sound art, and indigenous music are blended into compositions improvised in response to the location, context, and space of Tick Suck performances.
Laura Ortman (White Mountain Apache) and I first met through filmmaker Martha Colburn who invited us to provide live musical accompaniment for a screening of her films at San Francisco Museum of Modern Art in 2009. Laura and I had both worked with Martha for some time before meeting. I was so blown away the first time hearing her and my fascination with Laura as a musician continues to deepen every time I have the opportunity to hear and/or collaborate with her. Laura experiments with cross-disciplinary, genre-bending approaches to music and performance, drawing on both her classical violin training and Indigenous musical traditions. While she plays electric guitar, keyboards, pedal steel guitar, makes field recordings, and sings through a megaphone, her main instrument is her singular violin.
Six years ago, Laura was one of four Native artists who, through the Artist Leadership Program of the National Museum of the American Indian, the IAIA Museum of Contemporary Native Arts (MoCNA) in Santa Fe, was invited to create socially engaged art. In turn, she invited me to participate in her residency by sounding the magnificent Echo Amphitheater north of Abiquiú as well as record with her in the studio she was provided at MoCNA. Laura recorded with a handful of local musicians and blended it all together with field recordings she gathered of the city and region. She described this work as a customized soundtrack of Santa Fe. She also continued this approach to sonic engagement with her work commissioned by Issue Project Room she called Dust Dives Alive. The piece is part of the Isolated Field Recording Series which she published on her Bandcamp account Dust Dive Flash.
In 2016 we met up again at Park Church Co-op in Brooklyn. The evening of four sets was to raise funds and awareness in support of the struggle against the Dakota Access Pipeline #nodapl. Her solo performance of violin and effects was incredibly deep and soaring under the vaulted ceilings and the old hardwood. Not long after that I invited her to participate in my residency at Pioneer Works which culminated in a concert of me in trio with Nels Cline and Michael Wimberly as well as a quartet with Laura, Yuka C. Honda, and Ravish Momin. ACVilla provided visuals which she gathered and created during the residency.
Laura’s album My Soul Remainer came out in 2017 which I reviewed for FAAM. Two years later, as a 2019 Whitney Biennial artist, she delivered a concert that incorporated all of her sonic abilities to an understandably great reception. In that same period, her video, under the same name, debuted at the museum.
Here’s footage of the concert:
Plus the multimedia piece with the great ballet dancer Jock Soto (Diné):
This article makes it clear that there’s a tremendous amount of exciting work being produced by Native musicians. And of course there’s much more to cover beyond what I have here and no doubt much more to come. I think it’s crucial that the perspective of Native America be witnessed through the work of artistic practices.