Thursday, November 23, 2017

11/22/17 Blue Magnetic Night/ Blue Overtone Eagle - Overtone Peacock Moon of Radiance, Day 8

Chief Ouray - Brady-Handy.jpg
Chipeta and her husband Chief Ouray,
wearing a shirt she beaded.

Chipeta or White Singing Bird (1843 or 1844 – August 1924) was a Native American woman, and the second wife of Chief Ouray of the Uncompahgre Ute tribe. Born a Kiowa Apache, she was raised by the Utes in what is now Conejos, Colorado. An advisor and confidant of her husband, Chipeta continued as a leader of her people after his death in 1880.

She was an Indian rights advocate and diplomat. She used diplomacy to try to achieve peace with the white settlers in Colorado. In early 1880, she and her party were almost lynched by an angry mob of white people in Alamosa, Colorado, when they tried to board a train for Washington, D.C. It was only a few months after the Meeker Massacre and the whites held all Utes responsible. The Ute delegation was on its way to negotiate a treaty regarding reservation resettlement. They had also been called to testify at a Congressional inquiry into the Ute uprising. Years later, Chipeta also met with President William Taft. She was highly respected by both the Ute and white people. In 1985, Chipeta was inducted into Colorado Women's Hall of Fame.

Chipeta, "White Singing Bird" in the Ute (Shoshonean) language, was born into the Kiowa Apache tribe in about 1843 or 1844. She was adopted and raised by the Uncompahgre Utes of present-day Colorado. She learned their traditional ways and became a skilled artisan in beadwork and tanning.

In 1859, she married Chief Ouray of the Uncompahgres, becoming his second wife. She came to act as his advisor and confidant, often sitting beside him at tribal council meetings. In 1863, Chipeta and her husband helped create the first treaty of Conejos, Colorado. Chipeta's brother, Sapinero, was jealous of Ouray's power and tried to murder him, but he failed. Ouray took out his knife in order to kill the traitor but Chipeta grabbed it out of the sheath before Ouray could grab it, thus saving her brother's life. Described as "beautiful", she played the guitar and sang in three languages. Chipeta was also renowned for her exquisite beadwork.

Once,upon learning of a raid to be done on her white neighbors by the Utes she quickly traveled on her pony and swam the Gunnison River to warn the settlers of the raid, saving their lives. She rescued a white woman and her children from hostile Utes after a four-day ride. The family recounts: "Chief Ouray and his wife did everything to make us comfortable. We were given the whole house and found carpets on the floor, lamps on the tables and a stove with fire brightly burning. Mrs. Ouray shed tears over us." Both Chipeta and her husband were known for helping white settlers travel through the wilderness such as showing them the direction of a ford to cross a river.

Although Chipeta never bore children, she adopted four and raised them as her own, although one account does say that she did bear one son who was stolen by a band of Kiowas.

Ute leader and wise woman

Chipeta sought to live peacefully with the white settlers in Colorado. Tensions were rising as the settlers drove off game the Utes needed to survive. In addition, the government, through the White River Indian Agency, was pressing the Utes to take up farming, give up racing their horses, and convert to Christianity. The Ute resentment boiled up in an uprising in September 1879, marked by the Meeker Massacre at the Agency, where the Utes killed 11 white men and took three women and two children captive. In a related battle at Milk Creek, the Utes pinned down forces from Fort Steele for several days before reinforcements arrived.

The Uncompahgre did not take part in the uprising. General Charles Adams, a former US Indian agent, negotiated release of the captives. One of the captives was Josephine Meeker, adult daughter of the late Indian agent Nathan Meeker. The captives were brought to Chipeta and Ouray's home after their release. Adams held an inquiry into the events in Colorado.

On January 7, 1880, Chipeta and Chief Ouray led a delegation of Utes to Washington, DC to negotiate a treaty regarding reservation resettlement. They also had been asked to testify before a congressional inquiry into the Ute uprising. As Chipeta and the other Utes attempted to board a train at Alamosa, they were almost lynched by an angry mob of white people, who believed them associated with the Meeker Massacre.

On March 7, 1880, Chipeta was welcomed as a delegate by Secretary of Interior Carl Schurz at the US Capitol. She testified before a Congressional inquiry into the Meeker Massacre. At the hearing, she took the witness stand and answered, through an interpreter, the 10 questions put to her.[6]

The Utes ratified a treaty with the US government; however, they were forced to leave Colorado and resettle on a reservation in Utah. Both the White River and Uncompahgre Utes were forced out. Following passage of the Ute Removal Act of 1880, Chipeta and other Utes were removed to the Uintah Indian Reservation in Utah. Chief Ouray died in Ignacio, Colorado earlier that year. After his death, the reservation was renamed to honor him. Chipeta continued as a leader of the Utes and was highly respected as a wise woman.

Life on the reservation

Chipeta was a very respected woman on the reservation. The government promised her a house to be built and fixed up on the reservoir, however, this was never realized. The government instead put her in a two-roomed house on the White River without any furniture. This house was in a location where there could be no irrigation so Chipeta relied on rations given to her by government officials. Often times officials had to turn away people from the rations claiming that they were for Chipeta. Chipeta was known to be very kind and thankful for whatever the government officials did for her and was never known to be demanding.

She was also very respected by member of the tribe and was always allowed to meetings of the council in which no other Ute woman was ever accepted. When entertaining guests, Chipeta would prepare and cook meals herself with her own utensils without any help from other women. Chipeta eventually became blind in her late age.


Chipeta died in 1924 at the Uintah and Ouray Reservation in Utah. On March 15, 1925, she was reburied at the site of her former home near Montrose, Colorado. On May 25, 1925, remains believed to be that of Ouray were reburied in the cemetery on the Southern Ute reservation*

Tuesday, November 21, 2017

White Cosmic Wind/ White Self-Existing Wizard - Overtone Peacock Moon of Radiance, Day 7

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Tlingit Image.

Pamela Rae Huteson (born 1957) is an Alaska Native author and illustrator, from Prince of Wales Island in Southeast Alaska. She is both Tlingit and Haida, of the Shungkweidi Eagle moiety, from the Wolf House.

Part Owner & DJ of the on-line ThunderCloud Radio, Home of the Hu-Haa Hitz. Featuring Native Hip Hop, Native R&B, & Native Reggae from Hawaii to Greenland.

She has collaborated with her son to produce a Tlingit culture app, Totem Stories, based on her book.


Legends in Wood, Stories of the Totems (Tigard, Or: Greatland Classic Sales, 2002 ISBN 1-886462-51-8 )

Publications Containing Huteson's Illustrations

Legends in Wood, Stories of the Totems (Tigard, Or: Greatland Classic Sales, 2002 ISBN 1-886462-51-8 )
Coloring Alaska, the Greatland on a Summers Day (Tigard, Or: Greatland Classic Sales, 2004)
Transformation Masks (Hancock House Publications, 2007 ISBN 0-88839-635-X )

Other publications containing her entries

Encyclopedia of Anthropology. 2006. Entries: Aleut, Athabascan, Kwakiutl, Tlingit, Haida, Eskimo Acculturation, Potlatch, Feasts and Festivals. SAGE Publications
Encyclopedia of Race, Ethnicity & Society. 2008. Entries: Aleut, Tlingit, Indigenous Canada, Alaska Native Legislations. SAGE Publications
Encyclopedia of Time. 2009. Entries: Totems, Myths of Creation, Tribal Calendars, Chaco Canyon, Pueblo. SAGE Publications
21st Century Anthropology; A Reference Handbook. 2010. Entry: Inuit. SAGE Publications*


Kin 182: White Cosmic Wind

I endure in order to communicate
Transcending breath
I seal the input of spirit
With the cosmic tone of presence
I am guided by the power of death.

The intelligence programs contained in the sole atoms' three rings: gravitational, electromagnetic and bio-psychic resonators hold the information that spans the spectrum of galactic evolution.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

 The Sacred Tzolk'in

Anahata Chakra (Silio Plasma)

Monday, November 20, 2017

Red Crystal Dragon/ Red Electric Skywalker - Overtone Peacock Moon of Radiance, Day 6


Hanging Cloud (known in Ojibwe as Aazhawigiizhigokwe meaning "Goes Across the Sky Woman" or as Ashwiyaa meaning "Arms oneself") was an Ojibwe woman who was a full warrior (ogichidaakwe in Ojibwe) among her people, and claimed by the Wisconsin Historical Society as the only woman to ever become one. She was the daughter of Chief Nenaa'angebi (Beautifying Bird) and his wife Niigi'o. Aazhawigiizhigokwe was of the Makwa-doodem (Bear Clan), and was born and lived most of her life at Rice Lake, Wisconsin. Her community became part of the Lac Courte Oreilles Band of Lake Superior Chippewa Indians after the 1854 Treaty of La Pointe.

According to Morse, Aazhawigiizhigokwe wore war paint, carried full weapons, and took part in battles, raids and hunting parties. She was a full member of the war council, performed war dances, and participated in all warrior ceremonies. Shortly after father's death in 1855, her village was ambushed by her Mdewakanton uncle, Chief Shák'pí. In this ambush, she defended her village and killed a son of Chief Shák'pí, her cousin. Armstrong recorded how she was very proud of that period of her life.

Aazhawigiizhigokwe was married three times: all to non-Indians. Her first marriage was to Taylors Falls, Minnesota lumberman Joe Koveo. A daughter was born from this marriage, Ogimaabinesiikwe, known as Julia Quaderer, after she married John Quaderer, Jr. However, Koveo was already married and abandoned Aazhawigiizhigokwe shortly after their marriage ceremony. Her next marriage was to Rice Lake's first mayor, James Bracklin. Three children were born from this union: Nellie, Thomas, and James, Jr. Bracklin left Aazhawigiizhigokwe for a white woman, Minnie Russell. Aazhawigiizhigokwe's last marriage was to lumberman Samuel Barker, which produced two children, Mary and Edward. Barker also left Aazhawigiizhigokwe for a white woman. In her later years, Aazhawigiizhigokwe lived in the Whitefish community of the Lac Courte Oreilles Reservation with son Thomas Bracklin.

Aazhawigiizhigokwe was the sister of Waabikwe (the grey haired), who according to Benjamin Armstrong, became the wife of Edward Dingley in 1857, and had a son. Her husband served in the Union Army during the American Civil War but when assumed dead, she remarried. After the War, when her first husband returned to Wisconsin and heard of his wife's remarriage, they made arrangements to meet with each other and agreed to let her maintain her second marriage. She died in 1919.*


Kin 181: Red Crystal Dragon

I dedicate in order to nurture
Universalizing being
I seal the input of birth
With the crystal tone of cooperation
I am guided by the power of space.

Death is awakening to non-ego, and is characterized by light.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

 The Sacred Tzolk'in

Manipura Chakra (Limi Plasma)

Sunday, November 19, 2017

Yellow Spectral Sun/ Yellow Lunar Human - Overtone Peacock Moon of Radiance, Day 5

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Janet Campbell Hale

Janet Campbell Hale (born January 11, 1946, Riverside, California) is a Native American writer. Her father was a full-blood Coeur d'Alene, and her mother was of Kootenay, Cree and Irish descent.

In a sparse style that has been compared to Hemingway, Hale's work often explores issues of Native American identity and discusses poverty, abuse, and the condition of women in society. She wrote Bloodlines: Odyssey of a Native Daughter (1993), which includes a discussion of the Native American experience as well as stories from her own life. She also wrote The Owl's Song (1974), The Jailing of Cecilia Capture (which was nominated for the Pulitzer Prize in 1985), Women on the Run (1999), and Custer Lives in Humboldt County & Other Poems (1978).

Janet Campbell Hale has taught at Northwest Indian College, Iowa State University, College of Illinois, and University of California at Santa Cruz, and has served as resident writer at University of Oregon and University of Washington. Hale currently lives on the Coeur d'Alene Reservation in De Smet, Idaho.

Capture is a major theme in Janet Campbell Hale's writing. The name of the protagonist in the eponymous Jailing of Cecelia Capture is named for capture, but is also both literally and figuratively captured at different points in the narrative. Part of the dynamics of Bloodlines is to invert the white narratives about the capture of white people by Native Americans, into an account of capture of Native peoples by European-descended people. Escape and transformation of capture figure in several of her works.*



Kin 180: Yellow Spectral Sun

I dissolve in order to enlighten
Releasing life
I seal the matrix of universal fire
With the spectral tone of liberation
I am guided by my own power doubled
I am a polar kin
I transport the yellow galactic spectrum.

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in

Visshudha Chakra (Alpha Plasma)

Saturday, November 18, 2017

Blue Planetary Storm/ Blue Magnetic Monkey - Overtone Peacock Moon of Radiance, Day 4

Image result for Janice Gould images

Janice Gould (born 1949) is a Koyangk'auwi (Konkow, Concow) Maidu writer and scholar. She is the author of Beneath My Heart, Earthquake Weather and co-editor with Dean Rader of Speak to Me Words: Essays on Contemporary American Indian Poetry. Her book Doubters and Dreamers (2011) was a finalist for the Colorado Book Award and the Binghamton University Milt Kessler Poetry Book Award.

Gould was born in San Diego, California and grew up in Berkeley. She graduated magna cum laude from University of California, Berkeley, earning degrees in linguistics (B.A) and English (M.A.). Her PhD. was completed at the University of New Mexico. She was the Hallie Ford Chair in Creative Writing at Willamette University. "In 2012 Janice completed a residency for Indigenous Writers at the School for Advanced Research in Santa Fe, New Mexico." She is also a musician, and plays guitar and accordion.

As of 2013, she is an Assistant Professor in Women’s and Ethnic Studies, and Native American Studies at the University of Colorado at Colorado Springs.

Awards and honors
  • Grant from National Endowment for the Arts
  • Ford Dissertation Fellowship
  • Astraea Foundation Grant
  • Roothbert Foundation Grant
  • Knowledge River Scholarship
  • Association of Research Libraries Scholarship*



Kin 179: Blue Planetary Storm

I perfect in order to catalyze
Producing energy
I seal the matrix of self-generation
With the planetary tone of manifestation
I am guided by the power of accomplishment.

Consistent discipline replaces old programs ; old programs are erased according to the intensity of your discipline.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

 The Sacred Tzolk'in

Svadhistana Chakra (Kali Plasma)

Friday, November 17, 2017

White Solar Mirror/ White Cosmic Dog - Overtone Peacock Moon of Radiance, Day 3

Image result for Linda Lomahaftewa images
Linda Lomahaftewa Print

Linda Lomahaftewa (born 1947) is a Hopi and Choctaw printmaker, painter, and educator living in Santa Fe, New Mexico.


Linda J. Lomahaftewa was born July 3, 1947 in Phoenix, Arizona Her parents had met at an Indian boarding school. Her late father was Hopi, her mother, who lives in Arizona, is Choctaw from Oklahoma. She and her family lived in Phoenix and Los Angeles, California.

She attended a strict mission boarding school in 1961 but transferred to Phoenix Indian School, then the Institute of American Indian Arts in Santa Fe, New Mexico in 1962, the year the school opened. Upon graduation from IAIA, Linda earned a scholarship to attend the San Francisco Art Institute in San Francisco, California, along with fellow artists, T.C. Cannon, Kevin Red Star, and Bill Prokopiof. Of the four, only Linda graduated from SFAI. After earning her Bachelor of Fine Arts degree, she went on to earn her Master of Fine Arts degrees at SFAI in 1971.


Dawn Reno writes of Linda's work that, "She unites the ancient Indian world with the contemporary in her modernistic paintings and has done a series of abstract landscapes which are considered the most powerful in her body of work." Of her own art, she writes that her "imagery comes from being Hopi and remembering shapes and colors from ceremonies and from landscape. I associate a special power and respect, a sacredness, with these colors and shapes, and this carries over into my work."

Although best known for her printmaking, Ribbon Shirt, her contribution to the major traveling exhibit, Indian Humor, is a typical contemporary ribbon shirt bedecked with an array of medals, buttons, and award ribbons from various Native American art shows.

Career and honors

She has participated in innumerable group and solo exhibits including those at the American Indian Contemporary Art gallery in San Francisco; the Heard Museum in Phoenix; the American Indian Community House in New York City; and the Wheelwright Museum of the American Indian in Santa Fe.

She was listed in the 8th Edition of the International Who's Who in 1984. Her work can be found in such public collections at the Heard Museum, Phoenix, Arizona; the Wheelwright Museum of the American Indian, Santa Fe, New Mexico; the Millicent Rogers Museum, Taos, New Mexico; the US Department of the Interior, Indian Arts and Crafts Board, Washington, DC; the Southern Plains Indian Museum, Anadarko, Oklahoma; the University of Lethbridge, Alberta, Canada; the Native American Center for the Living Arts, Niagara Falls, New York; and the Center for the Arts of Indian America, Washington, DC.

Linda began teaching at Sonoma State University and later at the University of California, Berkeley. In 1976, she accepting a position teaching two-dimensional studio arts at the Institute of American Indian Arts, where she still teaches today.

“I’m happy that I’m recognized as a Native woman artist,” she was quoted as saying. “And that I’m still doing work after all this time. A lot of people give up."


Linda has a son, Logan L. Slock, and a daughter, Tatiana Lomahaftewa Singer, who is a curator of contemporary Native arts. Her brother, the late Dan Lomahaftewa (1951–2005), was also a celebrated artist. Her first cousins, Roger and Marcus Amerman are internationally known Choctaw beadworkers.

Notable Exhibitions

2012: Low-Rez: Native American Lowbrow Art, Eggman and Walrus Art Emporium, Santa Fe, NM

Public Collections

Heard Museum
Museum of Contemporary Native Arts
Millicent Rogers Museum
Wheelwright Museum of the American Indian*


Kin 178: White Solar Mirror

I pulse in order to reflect
Realizing order
I seal the matrix of endlessness
With the solar tone of intention
I am guided by the power of timelessness.

To lead a universal life we must do our best to be absolutely positive, radiating love into our environment.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

 The Sacred Tzolk'in

Ajna Chakra (Gamma Plasma)

Thursday, November 16, 2017

Red Galactic Earth/ Red Crystal Moon - Overtone Peacock Moon of Radiance, Day 2

Fineline black-on-white olla by Lucy M. Lewis, ca. 1960–1970s,
 collection of the Fred Jones Jr. Museum of Art.

Lucy Martin Lewis (1890/8–March 12, 1992) was a Native American potter from Acoma Pueblo, New Mexico. She is known for her black-on-white decorative ceramics made using traditional techniques.


Lucy Martin Lewis was born in Sky City, a mesa in Acoma Pueblo, New Mexico to Lola Santiago and Martin Ortiz. Though she celebrated her birthday on November 2, her birth year, while unknown, was probably in the 1890s.

Lewis began making pottery at age eight, after studying with her great aunt, Helice Vallo. Both of her parents occasionally worked in the nearby town, Grants. Her early pottery was made for tourists. The ash-bowls were easily made and sold for five or ten cents.

In the late 1910s, Lewis married Toribio 'Haskaya' Luis. The family named was changed to Lewis when the oldest son, Ivan went into the marines during World War II. She had nine children, seven of whom went on to become potters.

Her work began to be recognized in 1950 when she won the a blue ribbon at the annual Gallup Intertribal Ceremonial. After the Gallup prize, Lewis began to sign her work, an act which created controversy within the Pueblo community.

Her work continued to gain recognition and her pieces now reside in many prominent museums including The National Museum of Women in the Arts, Cooper Hewitt, and the American Art Museum.


Lewis's pottery is made from a gray clay body and formed by hand using coils. After the pot is shaped and dried, a white slip is applied. Without the slip the mineral paints would run off the pot. Next the design is applied using mineral paints and a brush made from yucca holds more paint and makes finer lines than regular brushes bought at a store. Finally on a day when the weather is right for a firing, a small number of finished pieces are carefully pit-fired. Results are rarely 100%. Some pieces will end up cracked, the background on others will be gray rather than white (these will need to be refired), but a few will be wonderful. After going through this process one learns why these pieces should be well taken care of and carefully preserved. Lewis's pottery featured innovative designs and she has been compared to Pablo Picasso. Lewis was known for the animals, and line designs she drew on her pottery. Her work is influenced by the color of the sky, along with her Native American culture. Lewis was mostly self-taught and her art was natural and innate. Lewis specialized in small pots that were usually six to twelve inches in height. In 1992, the price range for her pottery was listed as between one hundred and several thousand dollars. Lewis' tribe, the Acomas, considered the clay she used for her pottery to be sacred. The creation of a single pot could take as long as two to three weeks. In 1983, Lucy Lewis was given New Mexico's Governor's Award for outstanding personal contribution to the art of the state. In 1977, she was invited to the White House. Her work is part of the permanent collection of the Smithsonian Institution. Her designs are inspired by Anasazi and Mogollon culture potsherds.

Lewis did not speak any English. Her final art show was the 1991 SWAIA Indian Market in Santa Fe, New Mexico.

Native American pottery making is passed down the matriarchal line, mothers, grandmothers, and aunts teach kin.

Notable collections

Her work is in the collections of the Smithsonian Institution and the National Museum of the American Indian, as well as the Fred Jones Jr. Museum of Art, Museum of North Orange County, Lowell D. Holmes Museum of Anthropology, National Museum of Women in the Arts, and others.


Lucy M. Lewis: American Indian Potter by Susan Harnly Peterson and Fred Kabotie
A Tribute to Lucy M. Lewis: Acoma Potter by John E. Collins and Dr. Frederick J. Dockstader*


Kin 177: Red Galactic Earth

I harmonize in order to evolve
Modeling synchronicity
I seal the matrix of navigation
With the galactic tone of integrity
I am guided by the power of birth.

There is much invisible activity on our behalf which goes on behind or beyond the third-dimensional screen.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in 

Muladhara Chakra (Seli Plasma)