Turtle Island Art Collective

Heather Francis and Brenda Beyal speak with two artists from the Turtle Island Art Collective, Crystal Begay and Alan Groves. Crystal is an artist who specializes in Plains Indian-style moccasins. Alan is a teacher and artist who works with quilt work and beadwork. The Turtle Island Art Collective’s mission is to empower Indigenous artists, showcase Indigenous artists, and inspire Indigenous youth.

How Did the Turtle Island Art Collective Come to Be?

In a suburban or urban area, it can be difficult for native children to learn about their traditional culture and develop an identity as an Indigenous person. Art is a non-threatening way that they can learn about their traditions and cultures.

There are two parts to the Collective’s Mission Statement: One is to provide a space for Indigenous, specifically Native-American, artists in the digital realm. The second is to try to empower native kids and connect them with artists who have similar stories.

“It is hard growing up in an urban area where you are removed from your cultural heritage,” Crystal said. “Children do not see it every day. They don’t learn it in school. They’re not learning the language in school. Through the creation, sharing and learning about Native American art, they are better able to live their cultural heritage. The Turtle Island Art Collective is a vehicle for this exposure and empowerment.”

How Art Helps to Connect to Our Culture

Alan describes how difficult it can be to grow up where there are not many other Indigenous people. He was drawn to art. His first love was graffiti art. “It had meaning. They were saying something,” he said.

As he began having his own children, he and his wife talked about what they want for their children and they came to the conclusion that art is the way they could help them connect to their people and to their culture. “That’s my draw to Native American art. There is a story behind the colors you use and the patterns you use and the images you use. There is a definite story there.”

Offerings and Reciprocity

How does reciprocity occur between Native American artists or between artists and those who enjoy and learn from their art? Is it possible to exchange artistically in a way that is mutually beneficial to both parties? Can artists truly reciprocate by responding to a positive action with another positive action?

There is a lot of effort, love, and pain that goes into the creation of Native American art. Supporting artists can be a way to reciprocate – supporting financially and, in return, obtaining a piece of culture and art. But, a question comes to mind, “What is appropriate to pay Native American artists?”

Alan acknowledged that some create art and are desirous and able to make a living from it and that the decision to do so is up to each individual artist. Because of the time and care that goes into creating these works, Alan generally chooses to gift his art, after he gets to know somebody, at least to some extent. “And that’s been one of the blessings of actually doing it through digital means is that people can message me from around the country and share their story with me,” he said. The reciprocity comes from the learning about each other and creating from those stories.  

Trading can also be a meaningful and rewarding way to experience reciprocity. One artist may trade work for the work of another artist. One artist may trade natural goods to be used in art for the works of another artist. Lives and stories are shared.

When Alan first started creating two years ago, somebody traded him a box of porcupine quills that were already dyed. “A big giant box had thousands and thousands of quills in it. But they're all mixed up. There's thirteen colors, and they're all mixed up. And so I'm sitting there at my table sorting quills. And my daughter just sits down next to me. She's in high school. She just sat down next to me and she's like, ‘Do you need some help?’ And I'm like, ‘Sure.’” 

He recalled that his daughter sorted the whole box, taking her the entire summer, “We would just sit down and I would start making stuff and she would start sorting stuff. And then when we got done, we had all these bags full of quills. And then we got done and I said, ‘Okay, what do you want?’ And she said, ‘I want one of these medallions you've been making.’ Well, that was two years ago and so I finished it yesterday and I gave it to her today and she was so excited. But the idea is this idea of offerings, that when somebody does something for you, that you can't do for yourself, then you provide them with an offering. And it can be big and it can be small.”

Native-Inspired vs The Inspired Native

It has been a widely accepted idea to be inspired by Native art. We have seen beaded garments at Walmart, geometric designs inspired by Native symbols on pottery and homes, mass-produced dream-catchers, figurines, and t-shirts with pan-tribal representation of Native culture. But, times have shifted. Crystal said, “I think it’s important for Native artists to have a voice.” Now, we are inspired ourselves. We don’t just need representation in media or consumer products, we need space to represent ourselves the way we want to be represented. 

There was a time when the United States tried to take the Native American culture away through legislation during the period of allotment and assimilation. This period of Native American relations in the United States was a huge failure. Following this failure came the period of self-determination beginning in the 1970s. At this time, representation of any Native American idea, person, or tradition—authentic or not—in American life may have been applauded. 

But again, times have been changing, according to Alan. Now, we are realizing it is important to not just represent the culture, but to represent it in accurate and authentic ways—the way native individuals and distinct tribal groups would like to be represented. “It’s not enough to be a mascot of a team,” he said. Alan said he wants to share what it means to be him through his art. “The story I’m telling is my story now,” he said.

Communal Success

Even those of us who are non-Native can feel connected to and inspired by Native art. Communal success comes when artists and those who support the artists are working together so that the art benefits all of our lives, whether we are Native artists or not.

According to Alan, this success comes when you find your right way to give to your community. This goes beyond purchasing a t-shirt with a Native American print on it: “You’re just taking the art without taking the lessons to go with it,” he said. When teaching art to students, the teaching is more about just the art: it is about the stories and lessons that live with the art. It is about the interaction that comes with the process of creating art. Communal success can occur when artists are engaging in positive ways with Native communities. 

Supporting the Turtle Island Art Collective can also help create this communal success. As native and non-native children get more exposure to Native art,  this success and connection will carry over to them and their stories.

Resources

• Turtle Island Art Collective Website https://turtleislandartcollective.square.site/
• Turtle Island Art Collective Instagram https://www.instagram.com/turtle_island_art_collective/?hl=en
• Turtle Island Art Collective Facebook https://www.facebook.com/TurtleIslandArtCollective/
• Alan Groves Instagram @al_groves https://www.instagram.com/al_groves/
• Crystal BegayeInstagram @creativenativeboutique https://www.instagram.com/creativenativeboutique/

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Don’t forget to peruse the bank of lesson plans produced by the BYU ARTS Partnership in dance, drama, music, visual arts, media arts, and more. Search by grade-level, art form or subject area at www.education.byu.edu/arts/lessons.