By Tracy Rector

Tacoma-based photographer Roxann Murray has reminded visitors to her show that when women gather, there is power-and when Indigenous women collectively share space as a movement builders, the future is full of possibilities. Alongside Murray, featured artist as the Washington State’s History Museum’s current ‘Matriarch’ exhibit include Carolyn Christmas, Mariana Harvey, Sweetwater Nannauck, Paige Pettibon, Nancy Shippentower, Janene Hampton, Lisa Fruichantie, and Elizabeth Satiacum.

When you enter into the exhibit, at once, you notice the immense pride radiating from each participant as well as their proximity to the natural world. It’s clear from Murray’s photographs that she’s inspired by women and nature. The sword ferns, cedars, mosses, and blue skies invite the audience to look deeper. We are asked to understand what is at stake for our collective futures when humans become disconnected from the Earth and all beings. We are also privileged to witness the beautiful regalia of each woman.

And then there are the accompanying stories of these South Sound women, who share layers of their work but also their histories, interests, and lessons learned. They are seen as full humans, who bring much lived experience to the sacred duty of land and water protection.

“Growing up in Tacoma, Paige did not know about her Salish culture, but she always felt different from others. She used art as a way to create joy whenever she was lonely. She felt a kinship to nature but did not explore it until she became a young adult. It was then that she discovered the importance of reciprocity as she started practicing cultural traditions of both her ancestors and the people whose land she resides on.

Paige’s Salish grandmother created a sense of place, home, and belonging. She now honors these themes in her art. Paige witnessed addiction and the tragedies that come with it in her family; this helped to solidify her own sobriety and encouraged her to break cycles of trauma. Paige stresses the importance of true community and sisterhood when at times is only a facade of togetherness. She focuses on being mindful with the connections she makes and encourages others to stay away from a scarcity mindset; it creates toxic lateral oppression that is a detriment to the growth of oneself and the community.” —Paige Pettibon, Bitterroot Salish, Black, and white

With the following story, Elizabeth Satiacum (Quilwute) expands the viewer’s knowledge of historical oppression toward Native people and their communities. Despite these early harms, she helps us understand that it’s possible to prevail and serve.

“As a young child, Elizabeth became a ward of the state during the 1960s Scoop Era. The purpose of the Scoop was to take Native children from their families and assimilate them into the white man’s world. This caused disconnection between the children and their communities. It confused Elizabeth when she had to go to court so she could visit her father. Foster parents were abusive; she was punished if she tried to speak her language. She experienced the same traumas that children in boarding schools experienced, but on a one-to-one scale in the foster system. None of this dimmed her sense of humor, and she never gave up hope.

In 1974, during [the trial that ended in] the Boldt Decision, twelve-year-old Elizabeth became vocal about Native rights. While living in Port Angeles, she was targeted by sons of white sports fishermen, and they blamed her for not being able to fish. Through a beloved aunt, Elizabeth learned about the American Indian Movement, and it motivated her to take action and be a voice for Native people. Her aunt also taught her to be an advocate for victims of domestic violence.

As a long-time participant of Canoe Journey, she knows how crucial it is to protect the water and keep traditions alive. She encourages younger generations to stay close to the medicine and the Elders; they are the ones who hold knowledge and experiences that you cannot learn from anywhere else.” —Elizabeth Satiacum, Quileute

Please take some time to meet these amazing women, understand their stories, and learn how their steadfast commitment to the Earth benefits our collective futures as humans.

“Matriarch: Portraits of Indigenous Women in the Pacific Northwest Fighting for Our Collective Future”; has a closing reception on May 16th at 6pm before the show wraps on May 20 at the Washington State History Museum.

This photography project was funded by the Tacoma Arts Commission through the Artists Initiative Program.