ISU Prof. Shannon Epplet talks about Sunset on the Longest Day: An Act of Indigenous Restoration.
Illinois State University instructor Ruth Burke gets ready for groundbreaking of a land art piece by training her two oxen to drove a disc harrow. Burke’s “Domestic Rewilding” art series serves as a living land acknowledgment, and commences after a free performance Wednesday at ISU’s Horticulture Center.
NORMAL — Before the sun sets on the summer solstice Wednesday, several Native people will tell their stories of perseverance after colonial displacement for a free, outdoor community performance in Normal.
The Horticulture Center at Illinois State University, located on Raab Road across from the Corn Crib in Normal, will host “Sunset on the Longest Day: An Act of Indigenous Restoration.” A news statement last month from ISU described the one-hour program starting at 7:30 p.m. Wednesday as an event focused on listening to Indigenous people as a reconciliatory act of land acknowledgement, in hopes for a better future.
An event description said eight Native people will surround a bonfire, and each will hold pads of paper displaying one word each. Together, the pages will form phrases that change throughout the piece, such as “We are still here” and “We have already survived an apocalypse.”
Shown is Sparky the ox, who is cared for by Ruth Burke, an Illinois State University instructor who uses interspecies labor in creating land art. Her oxen will assist in a free Wednesday performance at the ISU Horticulture Center in Normal titled: “Sunset on the Longest Day: An Act of Indigenous Restoration.”
Per the online program, the circled Native performers also will answer these questions: “Who are your people? What happened to them? Where did they go? How are they now?”
Shannon Epplett, an Indigenous instructional assistant professor at ISU’s School of Theatre and Dance, is producing the event, which will also serve as a ground-breaking for the next landscape art piece by Ruth Burke, an assistant professor with ISU’s Wonsook Kim College of Fine Arts who teaches video courses. After the spoken parts of the performance and as the sun sets, Burke will drive two oxen, named Sparky and Clark, to start work on her latest sculpture in her “Domestic Rewilding” land art series that includes native prairie plants.
Attendees are advised to wear sunscreen and insect repellant. They are welcome to bring chairs and blankets, but also are encouraged to stand and walk around the performers to best experience their presentation. Music will be performed by Chicago-based Native American flute player William Buchholtz Allison.
This artistic mock-up of a land art piece in Ruth Burke’s “Domestic Rewilding” series is shown at Illinois State University’s Horticulture Center in Normal. Ground-breaking commences after a free, community performance Wednesday evening titled “Sunset on the Longest Day: An Act of Indigenous Restoration.”
While meeting with The Pantagraph at the performance site, Epplett emphasized the event is being prepared for the community, and not just for Native people. He said it’s a metaphor for a starting point, centered around listening to Native people.
“The longest day for Native people is colonization … this was an invasion,” Epplett said. “Hopefully, we’re watching the sun go down on that and something new can start.”
Oftentimes, he said the accounts of Indigenous people haven’t been considered. Assumptions of Indigenous people date back to 1492, he said.
Epplett, who is a member of the Sault Ste. Marie Tribe of Chippewa Indians, or descendants of Ojibwe people, said Native people are often spoken for. In other cases, he said non-Native people make subjects out of Natives.
While assumptions and misunderstandings may not always have a malicious intent, Epplett said “it’s important to hear from (Native) people themselves.”
Illinois State University Professor Shannon Epplett talks about “Sunset on the Longest Day: An Act of Indigenous Restoration.” The event is a free, outdoor community performance centered around listening to Native Americans as a reconciliatory act of land acknowledgement presented in collaboration with the Illinois State University Horticulture Center.
De-colonization
Epplett said Native performers on Wednesday will include people from tribes of the Ojibwe, Arapahoe, Dineh, Wyandot, Lakota and more.
Speaking from his Ojibwe experiences, Epplett said he didn’t grow up on his ancestral land in Michigan, but the tribes had a presence there. He said they were later put on reservations within Michigan, but they still lived by their space.
Most other tribes didn’t have that experience, he continued. They were removed to places that were very different.
One of Eppletts’ favorite messages that will be presented Wednesday is: “Our existence is resistance.”
Today, he said Native people get looked as “history or anthropology.” So in his courses on popular culture, Epplett said he shares how Native people use TikTok, or are portrayed in media made by and for Indigenous people.
That includes the FX TV show “Reservation Dogs,” which portrays the teenage experiences of Natives in Oklahoma. One of its scenes shows Native students parody land acknowledgements; one jests that dinosaurs previously occupied their lands, too.
Land acknowledgements are typically statements announced at public events to recognize the Indigenous people who previously lived there. While it’s good that organizations and institutions are giving them, Epplett is worried they’ve become routine, like “checking off a box at a meeting,” he said. He added it’s like reciting the Pledge of Allegiance and thanking sponsors.
Epplett said these acknowledgements need to go further, and be supported by actions that work toward restoration, reparation and reconciliation between Natives and settlers. Hearing from Natives about the harms they’ve endured is just one step to reconciliation, he said.
One difference in Wednesday’s event is the physicality of this land acknowledgement. Epplett said discussions for creating a garden, or a living land acknowledgement, began when ISU’s Multicultural Center opened two years ago.
He said The Horticulture Center was previously a farm, and traces of tree lines remain, so part of the piece is about remembering what has been erased.
Ruth Burke, of rural Bloomington, readies her oxen, named Sparky and Clark, on Tuesday, June 13, at Illinois State University’s Horticulture Center in Normal. Burke’s large-scale, in-progress earthwork, “Domestic Rewilding,” is a living land acknowledgment. The earthwork uses native prairie plants and is being fabricated by interspecies labor.
Burke said bison once lived on these lands. Her oxen will drive a disc harrow across the grounds for her “earthworks” piece, with a set of bells attached to their yokes. She said the same bells were also adorned to Conestoga wagons that were driven across the lands by settlers.
She said it’s fitting that the oxen, who once assisted settlers in colonizing the land, will also help in “uncolonizing” the land.
Hoofing for change
Epplett said as faculty adviser to TRIBE, a student organization advocating for Native rights, he’s been working toward bringing a Native American center at ISU. He said the university has a small Native enrollment, and he wants to increase that and retain the Native students they have.
Epplett said he completed his Ph.D .at the University of Illinois at Urbana-Champaign, which has a Native American House. If a similar center is established at ISU, he said they could continue community engagement there, similar to Wednesday’s event. And, he said they’d host Indigenous guest artists, too.
“Sunset on the Longest Day” will serve as a ground-breaking for the work of Wonsook Kim School of Art instructor Ruth K. Burke. Burke’s large-scale, in-progress earthwork, “Domestic Rewilding,” is a living land acknowledgment. The earthwork uses native prairie plants and is being fabricated by interspecies labor.
Burke said the outcome of her landscape art is not always what she imagined it to be. If she worked seven years on her earthwork piece just to have it demolished for a Native center to be built in its place, she accepts that’s “how the project goes.”
In the meantime, Burke said getting the oxen out on the fields and keeping them around as her “teachers” helps keep her flexible on those outcomes, knowing that living, thinking beings played a role in Wednesday’s piece.
But Sparky and Clark will have to be willing to do that. Burke said if they don’t, that’s still their part in the performance.
Influential Indigenous Americans you might not know about
A closer look at Indigenous history
Most Americans can count on one hand the Indigenous Americans who they know contributed to the colonial history of this land — from Sacagawea and Geronimo to Pocahontas and Sitting Bull. However, the reality is the one-sided nature of American history taught to children in the U.S. has minimized the contributions of Indigenous people, making for a challenging journey to truth and reconciliation with the native people of this land.
With the discoveries of a burial site for Indigenous children in Albuquerque in September 2021 and the unmarked graves of children in Canada in the summer of 2021, the world finally began reckoning with the brutal realities of the boarding school system and the insidious legacy of colonization — injustices that Indigenous activists and concerned communities have been speaking up about for years.
Speaking as an expert on a panel about Indigenous boarding schools, Dena Ned, a member of the Chickasaw Nation of Oklahoma, stressed the importance of remembering and learning our history. By doing so, Ned explained, we can understand why it’s important for policies, systems, and institutions to recognize and respond to certain members of the community.
That’s starting to happen more and more. In August, the Academy of Motion Picture Arts and Sciences formally apologized to Native American activist Sacheen Littlefeather for what she endured when Marlon Brando famously had her decline his 1973 Best Actor Oscar due to the mistreatment of Indigenous people in Hollywood.
By learning about the backgrounds, contributions, and sacrifices of Indigenous leaders, you can take action to break down the systems of oppression that threaten the rights of Indigenous peoples in the U.S. and around the world.
Backed by news articles and historical sources, Stacker compiled a list of 20 influential Indigenous Americans you might not know about, including Littlefeather who died in Oct. 2022. Read on to find out about these unsung Indigenous heroes and revolutionaries from across North America who resisted oppression, broke down barriers, and changed the course of history.
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Tecumseh
Wedged between the American expansionists and the British invaders, Tecumseh was a Shawnee leader who attempted to carve out a sovereign Indigenous state in the Midwest. Tecumseh and his spiritually enlightened brother, Tenskwatawa, were descended from a long line of Indigenous leaders who fought for the land against the intruders. While Tecumseh’s mission failed, and he died in battle in 1813, his efforts exposed the duplicitous underbelly of the foundation of America. His impact in the Midwest contributed to The American Indian Movement, which was started in Minneapolis in the 1960s and continues its work to this day.
Red Cloud
Oglala Sioux chief Red Cloud was among a group of Indigenous leaders who confronted the white settlers who had discovered gold in Montana during the 1860s. The settlers had attempted to construct a road lined with protective forts to facilitate the mining of this gold. However, following a two-year battle, Red Cloud and his army were able to halt the construction of this road and caused the U.S. to abandon its forts. Red Cloud then signed a treaty securing land in Wyoming, Montana, and South Dakota for his people. A warrior turned diplomat, Red Cloud was committed to nonviolent advocacy. Later in life, after settling in the Pine Ridge Reservation, Red Cloud campaigned for Indigenous land and civil rights in Washington.
Edmonia Lewis
One of the first Black professional sculptors, Edmonia Lewis broke down both racial and gender barriers with her works of art standing tall in the Smithsonian and the Metropolitan Museum of Art. Born in 1844 to a Haitian father and Ojibwe mother, Lewis has a shared African and Indigenous American heritage, though she was orphaned by the age of 7. Her most famous work of art is the marble “The Death of Cleopatra,” which was carved in 1876 and acquired by the Smithsonian in the 1990s. Lewis spent time sculpting in Europe, and many of her sculptures speak to the Black experience throughout history.
Susan La Flesche Picotte
Born on Nebraska’s Omaha reservation in 1865, Susan La Flesche Picotte was young when she first saw a sick Indigenous community member suffer and die while waiting for a white doctor. By pursuing a Euro-American education while honoring the customs of her people, La Flesche Picotte battled backlash and became the first Indigenous person to earn a medical degree. She defied the odds again in 1913 when she opened the Omaha reservation’s first hospital. La Flesche Picotte died in 1915, and she was commemorated on her deathbed for bridging the gap between her Indigenous roots and her Euro-American medical education.
Allan Houser
Indigenous sculptor Allan Houser is considered to be among the most influential artists of the 20th century. His parents, members of the Chiricahua Apache tribe, were held as war prisoners for 20 years, and his family tree includes legendary Apache leader Geronimo, who was a first cousin to Houser’s father. Houser’s career began in 1939, when he was commissioned by the U.S. government to paint murals. He was one of the first Indigenous artists to receive the National Medal of Arts in 1992, and his statue, “Swift Messenger,” sits in President Biden’s Oval Office today.
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Charlie Parker
One of the most prolific jazz musicians of our time, Charlie “Yardbird” Parker was a renowned saxophonist whose bebop style left a lasting effect on American culture. Born to a Black father and an Indigenous mother, the Kansas City native would go on to collaborate with the likes of Miles Davis and Dizzy Gillespie. The Grammy-award winner’s influence on the jazz art form was undeniable, and in 2021, the American Jazz Museum committed to celebrating his legacy by raising funds for youth activities and enhanced programming. Parker’s iconic works of art will be digitized and preserved by the museum for future generations.
Maria Tallchief
Maria Tallchief moved to New York to achieve her dream of becoming a dancer at just 17 years old. However, many of the companies she approached turned her away because of her Osage Nation heritage. Her drive and determination against all odds, even refusing to change her last name, led her to become one of America’s most revered ballerinas. Tallchief was the first American to perform at the Paris Opera Ballet, and she and her sister Marjorie went on to found the Chicago City Ballet.
Mildred Loving
Many Americans will have heard of Mildred Loving, as she and her husband (and co-plaintiff) Richard battled the ban against interracial marriage in the super-charged case of Loving v. Virginia. What many Americans may not know is that Mildred Loving was of Black and Indigenous descent. The Lovings took their case to the Supreme Court in 1967 and won, legalizing interracial marriage across the nation. In order to exclusively focus on the white–Black binary that was dominating American discourse around race, coverage of the Loving v. Virginia case—as well as the 2016 film “Loving”—left out Mildred Loving’s multiracial heritage.
Ben Nighthorse Campbell
The National Native American Veterans Memorial opened its doors to the public on Veterans Day in 2020. This museum honors the contributions of the Indigenous community and would not have been erected without the support of former Colorado senator Ben Nighthorse Campbell. When Campbell was elected in 1992, he was the first Indigenous American to serve in the Senate in over 60 years and the only Indigenous American in Congress. Beside being a former congressman and a member of the Northern Cheyenne tribe, Campbell is a Korean War vet, former Olympian, rancher, and jewelry designer.
Wilma Mankiller
One of Time magazine’s 100 Women of the Year in 2020, Wilma Mankiller was the first woman to be appointed Principal Chief of Cherokee Nation. Mankiller faced discrimination and racism growing up, which fueled her commitment to feminism and self-governance for Indigenous people. The Cherokee community thrived under her two terms as Principal Chief. She passed away in 2010, leaving a legacy of prosperity, pride, and hope.
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Joy Harjo
America’s first Indigenous poet laureate, Joy Harjo wants her writing to reflect the humanity of her people. Her work is guided by the need for justice and the desire for respect experienced by the Indigenous community. Harjo lives in Tulsa, Oklahoma, and is a Muscogee (Creek) Nation member whose grandfather endured the tragedies of the Trail of Tears. Harjo was an artist and an activist growing up, and today, she elevates her people and honors the spirits of her ancestors with every word.
Charlene Teters
For many years, artist, educator, and activist Charlene Teters has been committed to removing Indigenous cultural appropriation in the state of Illinois. A member of the Spokane tribe and former Academic Dean of the Institute of American Indian Arts, Teters is a powerful and creative voice in the movement for change. Decades after she protested the University of Illinois at Urbana–Champaign’s mascot, Chief Illiniwek, the school finally removed the mascot. The fight against appropriated mascots, however, is not over yet.
Louise Erdrich
The Pulitzer Prize–winning author of “The Night Watchman,” Louise Erdrich has written children’s books, novels, poetry, and a memoir. A member of the Turtle Mountain Band of Chippewa Indians, Erdrich lives in Minneapolis where she owns an independent bookstore. The award-winning author elevates the history and culture of her people, especially the Indigenous community in North Dakota, and is deeply connected to their fight for survival.
John Herrington
When the STS-113 Endeavour launched from Kennedy Space Center in November 2002, it carried the first Indigenous American into space. John Herrington carried the Chickasaw Nation flag, a traditional flute, and a few other personal items with him. His journey has seen him as a naval officer, a NASA astronaut, and on the big screen, in the IMAX movie “Into America’s Wild.” With a passion for Indigenous oral storytelling and a love for science, Herrington travels the world to tell his stories from the stars. He wants to encourage more Indigenous youth to get into the STEM fields and reclaim their ancestral legacy of engineering, astronomy, and science.
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Deb Haaland
Interior Secretary Deb Haaland, who fought the Willow project as a member of Congress, has the final decision on whether to approve it.
Kent Monkman
A creative visionary whose work has been commissioned by the Metropolitan Museum of Art, Kent Monkman is a Swampy Cree artist born in Canada. His work centers on the effects of Christianity on Indigenous communities. With solo exhibits across Canada and group exhibits throughout North America, Monkman’s impactful art challenges conventional depictions of his people by white artists like Paul Kane.
Lila Downs
Lila Downs has always felt pulled between her cultures. The artist grew up in two worlds, Minnesota and Oaxaca, Mexico, and is also Indigenous Mixtec, making her a tricultural creative. Her multifaceted heritage shines through in her entertaining and inspiring music, and she uses her songs to tell stories of her people. Inspired by these stories, her song “Dark Eyes” is about the labor Indigenous communities often take on, which is often deemed “essential” yet overlooked.
Sharice Davids
A member of the Ho-Chunk Nation of Wisconsin, Representative Sharice Davids was a professional athlete, business owner, lawyer, and nonprofit executive before she was elected to Congress in January 2019. As one of the two Indigenous American women serving in Congress, Davids is dedicated to reducing poverty, creating safe working conditions, and closing the pay gap for Indigenous women.
Tommy Orange
Author Tommy Orange is a member of the Cheyenne and Arapaho tribes, but he wasn’t surrounded by the Indigenous community in his hometown of Oakland, California. His debut novel, “There There,” won an award at the 2018 National Book Circle Awards. In sharing the Indigenous perspective in a contemporary way, Orange speaks about the relocation of his people to the cities and how assimilative culture has left many Indigenous communities feeling “voiceless” and underrepresented.
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Contact Brendan Denison at (309) 820-3238. Follow Brendan Denison on Twitter: @BrendanDenison
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