June 26, 2012
“For me it feels like my skills belong to my community,” she said. “I feel like I have that obligation – to care-take the skill itself and to make these beautiful things for my community.”
Mixed message: Beading a multi-colored palate
By Abena Songbird
(for Native Legacy Magazine Vol. 2 Issue 3 – Summer 2009)
MISSOULA, MT- Molly Murphy, 31, a mixed-blood descendant of the Oglala, Lakota, is one of the premier contemporary beadworkers to emerge from the Great Plains region.
Though her maternal lineage is Lakota, since childhood Murphy was raised by her mother in the Salish country of Missoula, Montana and on the Flathead Reservation.
“A lot of my culture and how I was raised is more Salish,” she notes. Her mother, Laurel Tynes, an Oglala Lakota, was adopted as an infant and raised in Great Falls by non-Native parents.
From the Standing Bear and Usher families of both Pine Ridge and Rosebud, Murphy’s mother has maintained contact with her birth parents since the age of 28. Tynes later became close to the Little Shell Band of Cree.
Murphy’s dad’s family is Irish Catholic from Helena, Montana. Knowing him only vaguely, she became close to her paternal grandmother, great-grandmother and aunts. Her father and all of his brothers are dead – victims to the scourge of alcohol.
“It’s pretty much just women left,” Murphy said. “In many ways there are many parallels from an Irish background to a Native background. It’s not a very surprising story on either side of my family.”
Montana has a large mixed-blood population, some of who are part-Irish, according to Murphy.
“It’s a unique reality in Montana; people are part-white, people are from multiple tribes – there are a lot of combinations.”
Murphy hasn’t yet met all of her extended family, yet feels pulled at times to return to South Dakota for that reason.
“I have family built here, it doesn’t have to be just about lineage,” she added. This rich “family” includes ties her mother built in college to a Salish woman, Arlene Savage. In the summers they would camp at the tribally hosted Salish Culture Camp in the Montana Mountains. There they would live together. Savage’s mother, Ethel Buchane became a strong mentor to Murphy and her mother.
“She just took us in and adopted us as family – a powerful influence,” she said, “a woman who had suffered tuberculosis as a young woman severely limiting her physical capabilities.”
“She became so central to a really large extended and adopted family,” Murphy said, adding that the early beadwork both she and her mother were doing is patterned after this strong female legacy.
Murphy began to bead at the age of seven taught by her first teacher – her mother who’d learned her skills from older Cree women that volunteered in the Head Start programs. Another major influence on the women’s art was the work of her mother’s friend, Blackfeet bead worker Jackie Larson Bread
By the age of 13, Murphy was deep into the passion: making her own fully-beaded Powwow outfits patterned after her Lakota heritage using photos of her great-grandmother in early dresses of the 1920’s.
True to these roots, Murphy not only weaves rich floral patterns in contemporary style, and bold geometric patterns, she also incorporates her Irish blood into her beadwork, weaving in Celtic border knot work designs.
“I think in a lot of tribal cultures there are obvious similarities,” she said, “The use of circles, triangles and spirals; patterns cross each other and come back from one tribe to another to another.”
“I was taught that if you weren’t using size 13 cut beads you weren’t really a bead worker,” she laughs. “I’ve learned to relax that a bit.” The women she learned from were strict, she said, proud of their tightly threaded uniform beadwork. Using larger beads was considered lazy, and those people really doing quality beadwork became scarce as Murphy grew older.
“For me it feels like my skills belong to my community,” she said. “I have that obligation – to care-take the skill itself and to make these beautiful things for my community.”
Bead working is a highly respected tradition, Murphy said.
“People need objects from their material culture,” Murphy stated. “I was taught as a bead worker that if someone comes to you in the community and formally asks for something – someone needs baby moccasins for example – I have an obligation to do that.”
“Our community needs those objects as a way to remember what we do and what those symbols mean,” she adds. “I feel I am a resource in that way for my community.”
This sense of responsibility should carry weight she says, similar to being asked to be a godparent or perform a ceremony and should not be subject to monetary value. Carrying these traditional Lakota and Salish designs and skills is a cherished role for Murphy.
Murphy estimates there are only 20 to 30 contemporary beadwork artists currently exhibiting in the country.
“I know a lot of Salish women in their 40’s, 50’s and 60’s that do fabulous traditional beadwork,” she said, “but I’ve noticed in my age group there’s almost no-one.”
This gap due in large part to the time investment the art requires, is threatening the traditional art’s survival. There is no store to go to for professional bead working, she reminded. “There’s no substitute. You can’t study up real quick to learn these basic stitches,” Murphy said. “It’s more a labor of love requiring hours every week – doing it constantly.”
A style emerges
Murphy, a graduate of Hellgate High School in Missoula at the age of 16, ended up on the University of Montana, Missoula (UM) campus pursuing pre-med through a National Indian Health minority grant.
“Finishing my freshman year at college at age 17, I was burnt out on school,” she said, adding she was also disillusioned with biomedical science and dropped out. “What I thought was pure science, very altruistic that was going to help people and benefit my whole community, I discovered was the pharmaceutical companies benefiting,” she noted.
Murphy then “ran away” from school, taking a variety of odd jobs until she could return five years later to find a profession that might be “ethical”.
Returning to the UM, she discovered art.
At the end of Murphy’s junior year, she began experimenting in abstract imagery, receiving a poor reception from the campus art department. A socio-political community consciousness had begun seeping into her work. “I was told to stop doing it and decided that if something made people so uncomfortable that they didn’t want to see it, I was going to force the issue,” stated Murphy.
“I was trying to paint like a white person from New York and what did I know about that,” she adds. “That didn’t have anything to do with where I was from. I didn’t know or had never seen anyone make a painting. What I did know was beadwork, hide tanning, parfleche, powwow outfits and dancing.”
Being in the sculpture department of the college, Murphy felt it was a natural progression to three-dimensional beadwork. For her senior thesis she decided to design boxes that combined bead work with traditional parfleche painting. “I make these beaded sculptures that were still useful,” she explains, “and used materials from the early reservation period — wool, ribbons and trade cloth — as metaphor for being a mixed blood from a mixed background”.
Counting Coup with Indian Humor
“I don’t use pure traditional items,” Murphy said. “I don’t try to ever go back to the 1750’s because I don’t know that. That’s not who I am or where I come from. I don’t want to make some type of replication. I want to make something current.”
Her pieces are often iconoclastic: ironic and funny. “I really like going out and stealing symbols,” Murphy said of the signs she uses of Western culture. “I call it reverse appropriation.”
Her one-woman show last May at the Missoula Art Museum’s Lynda M. Frost Gallery focused on the thread between athleticism and obesity. She displayed XXX large t-shirts beaded down the front and arms in traditional war shirt patterns (“Tribal Size Me”) and a series of three dimensional maps. On another piece she mapped Missoula and Pine Ridge’s relative location using latitude and longitude lines, rivers, and made a map that “made no sense”.
“It was a map that if I used only white information, wouldn’t get me home,” Murphy said. Her intent was to bead a type of reliquary (a symbolic vessel holding an abstract key, such as those used by the Catholic Church) meant to be a mental link.
The show also contained many smaller pieces: tulip purses (three-sided reticules or sculptural Victorian purses) and Murphy’s boxes. She used mostly Japanese 15 size beads and in her contour floral beadwork different sized beads added texture. “On some pieces I just have to use 11s,” she added. “There’s just no way around it.”
Drawing from her scientific background, Murphy beaded the molecular structure of DNA in her tapestry “Molecular to Stellar”. “I wanted it to be a gentler, emotional piece – not political in any sense,” she said.
Her moccasin border patterns merge and melt one into another becoming the double helix. “It’s a beautiful shape. There’s a lot about who we are encoded there but also our personal patterns are woven in.”
She shows an amazing gift to draw; illustrating her patterns of animals and people on both purses and large blankets that show scale. “College taught me a lot about composition and problem solving,” Murphy explains of her gifts. “A lot of my pieces are technically challenging – working with beads and fabric so they hang correctly. Comparatively, painting canvas seems easy.”
. Of her 3D boxes — a spin on parfleche rawhide envelopes — she said, “I was really devoted to the idea of making something useful – something that couldn’t collapse the way parfleche does… It was the first thing I did professionally and felt it was a beautiful solution,” she said of this marriage between functionality and sculpted design. “I still make the boxes constantly.”
“Consumption” is one of her most emotional pieces: a fully beaded sculptural box that has a microscopic view of the tuberculosis bacteria on the lid. Of the four vertical sides, two geometrically beaded sides represent her biological great-grandmother who had the disease. The other two feature beaded florals, representing her adopted Salish grandmother who also had TB. Dangling crystals hanging in the interior “basically drip blood.”
“When Native women got TB the impact it had on their families was still being felt many generations later,” Murphy said. “Families were taken apart and kids were put into other families.”
“That was the hardest piece I’ve ever had to sell,” Murphy said. It went to a collector who grew up near a TB clinic in Arkansas and had a personal connection to the piece. She felt he would really treasure and understand it.
Supporting herself through her art
Murphy lets gallery owners take into consideration their market and their clientele but sets her own prices. Her works garners anywhere from $300 – $5,000 and up.
“I am starting to get the place where I am paid for my ideas in addition to my hourly labor,” she said. “I feel I am finally winning. Not that I object to do something I love for $10 an hour. Montana’s a poor enough state to where that still felt like a pretty major accomplishment.”
Her husband, Ben Murphy, a ‘white boy from Indiana’ is a firefighter on a Hotshot crew and their daughter, Anastasia, is 7 years old. He is a staunch supporter of her work.
“I never thought I’d end up marrying a white guy that would end up learning about and loving beadwork so much,” she says. He also helps her with archiving and logistics and is a good sounding board for some of her more “outlandish” creative ventures.
Supporting herself solely from her art is a growing reality. “This year I am going to make a living wage. Up until now I’ve been really lucky that my husband had a good firefighting job,” she laughs. “It’s kept our heads above water.”
Up until last year Murphy had to balance her art with the duties of parenting. She wanted her daughter home “in the yard getting dirty and watching her mom bead and work in her garden growing food.” Anastasia is now in second grade, making Murphy’s life as a full-time artist more feasible.
From traditional beading to Murphy’s contemporary style:
Nervous about receiving criticism from her Native community, Murphy has been pleasantly surprised. At the annual Heard Museum show in Phoenix, Murphy gets a chance to meet Indian people from all over and hear their critiques. “Using beadwork to be critical of my Native community felt like crossing the line but I wanted to do it anyway…For me to use beadwork to say we have a problem with obesity, we have a problem with loss, with racism, when I was taught that beadwork was to always be positive… I felt I crossed the line with the (“Tribal Size Me”) t-shirts. Maybe not too far…in a way it was subtle criticism but the response has been incredibly positive.”
Seeing elders come who have watched her work since the age of 11, Murphy was hungry for their words. “Probably what meant the most to me was when Corky Claremont, the art professor at Salish Kootenai Community College, helped me navigate where these two communities come together: the art community and the native community. He made a point of coming to the opening of my show, giving me a hug and telling me, ‘good work.’ He is known as a man of few words. He said, ‘This is a really good show.’”
Murphy recently finished a Salish-style cradle board which won the Heard’s prestigious 2009 “Best of Show.” Like many of her pieces it is both functional and practical with hidden compartments in the top beaded part that hold all the documents for the baby: birth certificate, tribal enrollment card, hospital bracelet.
“I would like to be able to give back,” said Murphy. “I have running vehicles, I have my own house and I have everything I need. If I don’t do something that’s seen by Native people I go a little crazy.
Many times she prioritizes by saying no to some items that come for profit to give back pieces to her community. “I have to make my living but I am not a very material person,” she adds. “I am pretty frugal”.
Her largest concern is that enough Indian people see her work. This speaks to the economics of who buys her art — often exclusive private collectors and galleries. “Most Native people can’t afford my work,” she says. “I couldn’t afford my work. It goes to markets, exhibits and shows that have a primarily white audience.”
Murphy is exited to have a show catering to Indian people. “It’s about cultural self-esteem. I don’t want all the things in our community to be all about mortality rates. Indian people need to keep seeing that you can be professional and still be Native – how to bridge that without leaving the community”.
Murphy wants do what she can to continue support the longevity of bead working; to sustain this viable, cultural art. “I’m hoping with the community center where I have my studio, I can begin to host beadwork nights for women who need space and time to work on outfits or pieces for their family. Sometimes home is too confusing and cluttered. It’s hard to make time for that.” A former powwow princess, she also recently made three crowns for the UM student Kyi-Yo powwow and donated them to the club – traveling crowns that the girls would take with them and bring back each year.Following Traditional Cycles/Seasons:
Murphy rents studio space at The Zootown Arts Community Center in Missoula. Until recently, she worked at home which she says was both “really great and difficult”. Through college she’d been able to stay at home with her daughter and create her art. She enjoys the challenge of staying focused in this new setting.
“I try to bead 40 – 45 hours a week in the winter time,” she said. The rest of her work time is devoted to bookkeeping, writing, client information, contracts, research, drawing and ordering supplies.
Murphy gardens fairly “furiously” putting up jams, and pickles; lots of fruit and every summer the family goes berrying. “I want to keep doing those things that have something to do with the culture I come from,” she explains. “I don’t want to just spend time earning a wage and not be able to do for myself anymore because I have no time…What’s the point of having money if I can’t go berry picking or tool around with my mom on the rez this summer and go chokecherry picking”.
She teaches kids, but not until they approach her. “I certainly want to teach my daughter but I’m not going to push it,” Murphy adds. Anastasia has been able to pick up beads with the needle from age three. “I think she’ll do it. I certainly do it much differently from my mom. I wouldn’t be surprised if she goes in another direction as well,” Murphy said. “She may never want to do this as a profession but I certainly hope she learns how to do these patterns and the more traditional pieces.”
To encourage her daughter she makes her a little gift of beadwork every year.
Murphy said she notices a presence of her ancestors when she works. “They come through my hands and my materials. I really had that feeling when I use vintage beads,” she said.
“From my dad’s side of the family I inherited my great-grandmother’s yardstick. She was a seamstress and had this beautiful old hardwood yardstick with brass. It is completely covered in her writing where she would mark her different projects.” Murphy added that it was probably the same measuring stick she had since the 1930’s.
From her mother’s adopted side of her family she also inherited her grandmother’s sewing machine with all the old supplies from the 1950’s. She uses them all. “I really do feel that the (Lakota bead) patterns that come from my great-grandmother’s dress are pretty powerful.”
SIDE BAR: Molly Murphy received her Bachelor of Fine Arts degree from the University or Montana in 2004. Her “Past is Prologue” cradleboard piece won the prestigious “Best of Show” at the Heard Museum in March 2009. Murphy was voted “Best New Artist of the Year” by her peers at the Northern Plains Tribal Arts Show and Market in 2003. She was included in the “Changing Hands 2: Art Without Reservation” exhibit at the Museum of Arts & Design in New York City, which traveled the country beginning in 2004. Murphy’s work is represented by two exclusively American Indian galleries: the “Ancient Nations Gallery” in Salt Lake City” and the “Home and Away” gallery in Kennebunkport, Maine.
To view further samples of her work please visit her website: www.MollyMurphyBeads.com
June 7, 2012
(Dakota Lakota Journal, 2006 – reprinted in Native Legacy Magazine – Vol. 2 Issue 4 – Fall 2009)
Photo: Traditional & contemporary Lakota artist and renowned Northern traditional dancer, Dawn Little Sky, outside her home in Yellow Bear Canyon, south of Kyle. She stands in front of one of her buffalo hide wintercounts. This piece is based on her husband, Eddie Little Sky’s grandfather, John Calhoff’s Wintercount recount and documents Lakota tiospaye history from 1759-1900s.
Dawn Little Sky, artist, actress, dancer and teacher
A Lakota living treasure
By Abena Songbird
Dakota Lakota Journal Staff Writer
KYLE ? Dawn Little Sky is from Standing Rock, grew up in Ft. Yates South Dakota, and is an enrolled member of the Cheyenne River Sioux Tribe.
Her parents – John and Ethel Gates were from Standing Rock. Her grandmother, Nellie Gates, the daughter of Chief Two Bear, and mother both were extremely deft in the Lakota arts of bead and quill work – she learned at their feet.
“Her beadwork is in the Smithsonian,” Little Sky proudly said of her grandmother’s work.
A renowned Traditional Dancer, Little Sky also has a long history of work as an artist in a variety of mediums: oils, acrylic, charcoal, pastels, sculpture and mural work, and has taught Lakota Arts and History in many tribal schools in South Dakota. She was head staff for 2005 Gathering of Nations Powwow in Albuquerque, New Mexico.She learned first with the trade beads of the era: white, black, blue, yellow and red – “We didn’t have the cut glass shiny beads of today,” she said. “Back then they were very small – size 13 or so.”
During World War II, Little Sky said demand for her beadwork really geared up as she, her mother and grandmother made things to give to service men to take back – novelty work in red-white-and blue, cigarette cases, and billfolds. She was nine years old.
“We didn’t have television then. In Winter time, that was our amusement,” she said of the bead and quill work she became a master of.
She also spent her time drawing – mostly animals. “Grandmother taught me how to do quillwork,” she said adding, that for her it’s easier now than the beading, as her eyesight is beginning to fail her. They would go and collect the quills mostly from road kill and use crepe paper for their dyes. They would soak different colors of crepe paper to get out the dye and soak the quills in it.
“The dyes in crepe paper are very good – they didn’t fade much,” said Little Sky. They used mostly reds, blues, yellows and greens – ‘whatever colors you could find.”
Dawn also has been involved in modern art, from a family of five – herself, two other sisters and two brothers, she said her whole family was artistic and she learned to paint, draw, sculpt. “It was just a way of life for us,” she said.
Little Sky went to boarding school in Kansas – Haskell Indian School where she met and married Eddie Little Sky. She eventually studied art at Kansas State University in Lawrence.
She and her husband Eddie moved to Pine Ridge and had five children. Her son, John Little Sky is a singer with Eagle Mountain Drum. As Eddie was a rodeo hand, the family followed rodeos for awhile.
Breaking Ground, uncharted territory
Eddie had a chance to work on the movie “Crazy Horse” when in came to Rapid City, and Dawn joined him herself; “We got interested in the movies,” she said. The movie, filmed in the late 1950’s spanned a thirty five year career for Eddie, an adventure which Dawn also embarked on.
They both were character actors in the movie industry, and eventually moved to Los Angeles in 1959 to continue making films. Both she and her husband had speaking roles in various films at a time when the majority of Native actors of the time were extras; their filmographies are equally impressive. Eddie was in over 60 films, Dawn, in ten.
To help support the family Dawn took a job with Walt Disney Productions doing her art. She was placed in the ink and paint department and learned how to color cells.
This was quite an unknown for an Indian woman of the time. “I just packed up my portfolio and went and applied,” she said.
Little Sky said she didn’t realize every artist around was trying to get a job at Disney. They were intrigued by an Indian artist and they hired me,” she modestly said.
She inked cells for 3-4 years all the while beaded and doing quillwork for outfits in film. Being lonesome in Hollywood, Little Sky said they got acquainted with other Indians and formed clubs and had powwows in the California Area – which also kept her busy making regalia.
Photo: Dawn’s husband, prominent actor, Eddie Little Sky, in a “still” from his movie portfolio. Photo courtesy of Dawn Little Sky, from her collection.
The Little Skys spent close to twenty years [1959-1975] in California. When Disneyland opened its gates in 1956, she and her husband went to work there. She was a narrator hired to explain dances she also performed. Dawn danced traditional in the Indian Village, along with other tribes who had relocated to the Los Angeles area during the work relocation era.
Both she and her husband made numerous movies and were principal character actors on a variety of television shows including: “Rawhide,” “A Man called Mushy,” “Gunsmoke,” a movie “Cimarron” in the early ‘60s and later, “Billy Two Hats,” “The Apple Dumpling Gang,” and “Duel at Diablo.” Some may recognize her for her role as Grandma Moore in the 1994 movie: “Lakota Woman: Siege at Wounded Knee.” They both were featured prominently in many of their films and shows.
“I really enjoyed that very much – making movies. It’s an interesting way of life,” said Little Sky of those years.
She met many of the screen stars of the era: Glen Ford, Robert Mitchum. She said they were friends with Robert’s brother, John Mitchum, also an actor. They also both knew Jay Silverheels, the Six Nations actor who had been among the first Indians in film in the late 1930s.
Movies starring Indian people in that day was in its infancy: “They thought all Indians were stoic and said, ‘ugh!” said Little Sky.
Though typecast in his Lone Ranger role as “Tonto,” Silverheels’ career spanned over sixty years and he starred in more than a hundred films and shows.
Little Sky said she really liked actress Sophia Loren – “she was really nice,” and liked working with German actress, Maria Schell.
Though they spent many years in Los Angeles, Little Sky said they both never felt it was home. They still said home was South Dakota, and they would go back and forth to spend time with family in Yellow Bear Canyon, south of Kyle, where she now lives.
Little Sky worked for Western Costuming and did all the work for John Wayne’s costume in the 1960 film, “The Alamo.” Wayne played Col. Davy Crockett.
She also had a booth at different art festivals and county fairs in California.
“I made a living off it when I wanted to,” she said. At that time she was doing a lot of pastels, portraitures of Indian children, warriors and maidens. “My best seller was an Indian medicine man,” she said. Even then her work was highly sought after. She remembers one customer who followed her around at the various shows and bought up everything she ever drew.
She could do a drawing in ten minutes. She also gave much work away to family – children.
She and Eddie also traveled extensively with rodeo cowboy and World Champion Trick Rider, Casey Tibbs’ American Wild West Show & Rodeo. They went twice to Japan; also toured most of Europe. They performed their dances before the then Crown Prince of Japan and also Prince Albert of Monoco.
Photo: Dawn Little Sky in her fully beaded regalia, on horseback in Japan [circa 1973] as part of World Champion Trick Rider, Casey Tibb’s Wild West Show
The call back home
In 1975 she, her husband, Eddie and kids moved back to South Dakota. They lived in Eagle Butte for awhile as her mother was getting up in age and Dawn wanted to be near her. The kids were older and she said they were “phasing out the Hollywood era” and wanted to move back home.
Little Sky says she has also raised two grandchildren. When she came back to the reservation she became involved in teaching art to children in both grade school and middle school. She found out that she enjoyed teaching. She started in the Eagle Butte Program supplement to Educational Curriculum. Little Sky would tell Indian stories, developing an art project to go with them. She taught youth how to bead, sketch on charcoal – about composition.
“They didn’t know about composition,” she said adding, “I thought that was really great.”
In the 1980’s she went to work in Kyle at Little Wound School as an art instructor for K-8th graders. For ten years she said she “had her hands full.”
Little Sky retired after her husband passed away in 1997 but as she didn’t want to stay at home; she went back to teaching. “It helped me deal with my grief,” she said. “You can’t be sad around kids. They really cheer you up.”
She has since spawned several generations of traditional artists with this encouragement. She still has students who come up to her and say:
“You taught me how to bead,” and “You were the first to teach me how to do quillwork – now my wife is making a living doing it.”
Little Sky says it’s through these arts, song and dance, ‘It’s the main way we retain our Lakota culture.”
She said when you are doing these traditional arts it requires research. One must ask – why did we use these different colors? or find out what certain signs mean.
She heats her quills with a certain eye bolt which has an antler handle; a tool hand-crafted for her by her husband.
Not wanting to divulge her trade secrets, she said over the years that some people use a bone, and that her grandmother used her teeth. “Pulling the quills with your teeth – you have to be very careful,” said Little Sky. She said her grandmother also had very long fingernails and used them also to flatten the quills.
In 2001, Little Sky retired for the second time. She said she likes her afternoon naps. Currently working mostly in her home, she is enjoying working with acrylics; painting mostly dancers – fancy shawl. She also does hide painting – wintercounts.
Dawn also was one of five artists who demonstrated her work at the Agate Fossil Beds national Monument in Nebraska. Her wintercount, “The Running Water Winter Count” on display there is acrylic on elk hide. It symbolizes the creation of earth, and took eight months to research and paint.
In Jan. 2005 Little Sky traveled to Pierre to receive the 15th Annual Living Treasure Award from The South Dakota Arts Council in recognition of her mastery of traditional Lakota arts and a lifetime of achievement. Governor Mike Rounds presented her a Pendleton blanket at a special dinner at the Ramkota River Centre.
Brother C.M. Simon, SJ, of the Red Cloud Heritage Center, Pine Ridge shared these comments when she received the award, “Dawn has dedicated her life to the preservation and teaching of Lakota Arts,” said Brother C. M. Simon, SJ, of the Red Cloud Heritage Center, Pine Ridge. “Dawn is an accomplished artist. Her tribal artistry includes bead and quillwork and hide painting winter counts.”
At the 2006 20th Annual He Sapa Wacipi Sunday evening Oct. 8, her granddaughter, Chanda Pendon, a traditional dancer, hosted a Golden Age Special on her behalf. Her daughter, the former Miss Indian World, Prairie Rose, came from Canada. All three of her sons were there to help, as well as all her grandchildren and great-grandchildren.
“My great-grandchildren are now coming into the arena,” said Little Sky. “It’s really great, fun to watch.”
Her favorite, most enjoyable part of the powwow are the drums. She has known many of the singers when they were children, and has seen them grow and form their drums. Her late husband, Eddie used to make drums and would sing for his sons, when they danced. Her son, John Little Sky is a singer with Eagle Mountain.
“I was the first female eyapaha in Anaheim Park, California. We used to 49 all night in those days, “said Little Sky adding, “They were very tame back then. We had all our children and just naturally gravitated together with other Indian families.”
Her children are now hounding her to begin recording excerpts of her life to include in a book. She has lived such a groundbreaking, creative life: first woman eyapaha in Los Angeles, first Indian woman to color cells at Disney, one of the early Indian actors in the movie industry, traveling and dancing the world in the Wild West Shows, becoming a master at the Lakota arts of quill and beadwork, as well as masterful artist with pastels, charcoal, in contemporary forms.
Though she holds some memories close to her heart; those which may be painful to relive; Little Sky’s life has been one of great adventure, courage and creativity. It is clear that she is an inspiration to indigenous women and men everywhere.
“I’ve been very fortunate; been involved in artwork most of my life.”
April 29, 2012
“I want to teach some of the Native youth, the students, that you can be a nurse and an artist at the same time – an accountant or a painter….” “Right now I believe my pottery defines who I am.”
he students that you can be a nurse and an artist at the same time – an accountant or a painter….” “I think art is a vital part of everyone’s life. Even if they think they aren’t artistic, they are,” said Fischer. In addition to the show at the Sioux Indian Museum at the Journey, at time of printing (Native Legacy magaine issue: Vol. 3 Issue 3 Summer 2010) Fischer had her work on display throughout the USD campus and at the
Prairie Star Gallery in Sioux Falls. One recent Christmas she also created 25 pieces of her horsehair pottery and gifted them to family members. ”
shock,” Fischer says of her recent success. “It’s because I’m still dreaming.” “To be able to graduate from college and still be able to stay true to my art roots is humbling.” Fischer says she dreams many of her designs, and of making her pieces. “They are completely random dreams but they help me toward how I am going to do a pot – glaze it…”