1 10 4 https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/07367e63aa23991d846f41de33b28d74.png?Expires=1773878400&Signature=vR4ZlQ3ZTM9OgTuBZpWT40iV%7EaTIJb4Uqa84Gt7o-cD%7EqDv-EXZRdF9tHKz8R54u-91j1gLzq7ia4EyYckssPZ-aULAVAbk8ku%7ERJF26l53bbTE0AP-H0V8TvyTV-AlFAEWrro3FDu7dxxIIjo49nJA36-es5KRMBh7z2EYQRZwn7eWuEEmwkGXO-02HUT5ICnVtGIF2vh5AWrF-dz9QtCYvW5xTBW58GClrzz-1lmi3MiJwVUCFG1GFKEi5vsPoLTNBg44RmHXlSuOwjezf9tq51FYxcQGoKZK7sLTM8DvfRjHzFWIiZp63xpAUT0GNwheMEptpbdCHw5JL6bwJzQ__&Key-Pair-Id=K6UGZS9ZTDSZM bc650236db17a9bb0aca1003da77422a https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/fbd83c1dcce97bb3ff3ca8e60e7c583c.png?Expires=1773878400&Signature=DCASS5UT3W0058Jeq94SSvO3cJSkNXWKdHG1iQqxoAeJ1MRpiqv%7E8gnjBdNNi0lFc7DOBRXqQj6SGSjVK0OZo6bMKPSof3tJfaPRFXXiTxk4fuMktpHaSUYbo7HrnZLDj-Sy0itF-c1553cEkGYBDnAD1iGx36zNh%7E8H5dPeFUEagqSH6KzcX3WPcFfLIK7SGKrkkdvcVarRJe%7EPft3Z2dMRh1E%7EokjUb1wIp0HAlpkQZgZUev8Y-4Xrk4nBpKKfBkSXq6DNLVlAkri6-fryoq9KBMryIqBpw-p0mA8H8xtJ7tUDHlO99ZRjD55w%7EvjCK9TQ47Bs2x3vOSDkA2psAA__&Key-Pair-Id=K6UGZS9ZTDSZM 9a910ba5312ce2553b71720b43e4d2ba https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/0aa9a39a8890e4bcf20a74a6c1eba4af.png?Expires=1773878400&Signature=DGWFoVE2iCJkVE8tR75W2OEFd80kosT-txzVTSv3P31cPRBdVqSWQ%7ENxgKENkccV86pVRkp5m8yQd2mJs6tmZN2YNfjqnrOPO9kZIusGt3RsS3GKPjBisklgR5ZUxotn4lKwuYegMrWtzEYNNFYq9St5JO7qTI9m7c5gEDKXcrSKT1q5Ar8qnv7xtOx8sle%7E4hIIz57Sk64V68jBqumRbcX9clZieUllsxreZJ2leuCtoArmlG5LfgBoljw1oxm5GYffKrir9vf%7EzsGVSriFwtAsnoEjqsagv5yFynKFBAjJ4x%7EKYuHKw2AoMY42wADvWu2iKotObkfZ4RCsqpFNBA__&Key-Pair-Id=K6UGZS9ZTDSZM a7bfb98f5930df76d7d7fa711b8e37da Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chromazone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DAKHOTA ANCESTORS Creator An entity primarily responsible for making the resource Danielle Seewalker is an artist and writer. Danielle Seewalker is Húŋkpapȟa Lakȟóta and a citizen of the Standing Rock Sioux Trib (SeeWalker, “Danielle SeeWalker”). She often honors her heritage in her artwork using traditions materials or imagery. Her art are works in a verity of mediums including bead works, murals, and photography collaborations. She published a book called “Still Here: A Past to Present Insight of Native American People & Culture” in 2020 (SeeWalker, “Chroma Zone Mural & Art Festival”). She is also a part of the “Red Road Project” an ongoing collaboration with Carlotta Cardana which uses photos to convey what modern life looks like as native american person through story telling (SeeWalker, “Chroma Zone Mural & Art Festival”). She also is involved in Babe Walls working in marketing of the organization and participates as an artist in the festivals. Babe Walls is a non-prophet that supports woman and non-binary artists (BABE). The organization supports mentorships between artists that are well establish and new artist through collaboration paintings (BABE). She now lives and works out of Denver Colorado and is a mother to two sons (SeeWalker, “Danielle SeeWalker”). Date A point or period of time associated with an event in the lifecycle of the resource Created: August 7th 2024 Documented: October 20th 2024 Description An account of the resource The arrangement of the mural is very symmetrical. At the center of the mural is a budding flower and the there is a woman’s face on each side of the flower. On the other side of the women’s faces there is another set of flowers. The focal point of the mural is on the two women that are facing each other. The Mural is full of different bold and vibrant colors with a solid dark grey backdrop. The simplicity of the backdrop makes the color of the women’s earrings and shirts stand out even more. The bright color gives an upbeat and positive vibe to the mural. An even thickness black line outlines almost every shape within the mural. The black line gives a crisp and polished finish to the mural making it feel extremely professional and detail oriented. The only shape in the mural not outlined by black are the solid white triangles within the earrings while even the polka dots on the shirt are outlined. The lines are both straight and sharp as well as rounded in the face and braids. The mural has the texture of a cinderblock wall behind it. When looking at the piece from a far the texture isn’t noticeable because your eye is drawn to the crisp colors and women’s faces however when you get up-close to look at detail the block texture is noticeable. The overcoming of the texture gives the women depicted an air of resiliency and overcoming obstacles in their own personal lives as they conquer the texture of the wall derailing their spotlight. One of the ways that the artist creates depth is within the women themselves. The braids of the women are obstructing the view of the women’s shirts and part of their faces. The way the jaw is outlined also creates a sense of depth with her chin seeming to protrude slightly from her throat. Rights Information about rights held in and over the resource Artist: Danielle Seewalker Researcher: Audrey Percich Source A related resource from which the described resource is derived BABE. “BABE WALLS.” BABE WALLS, 2014, www.babewalls.com/shop. Accessed 1 Dec. 2024. “Danielle SeeWalker (@Seewalker_art) • Instagram Photos and Videos.” Instagram.com, 2020, www.instagram.com/seewalker_art/?hl=en. Accessed 24 Nov. 2024. SeeWalker, Danielle. “Chroma Zone Mural & Art Festival.” Chroma Zone Mural & Art Festival, 2014, www.chromazone.net/danielle-seewalker. Accessed 19 Nov. 2024. ---. “Danielle SeeWalker.” Danielle SeeWalker, 2014, www.seewalker.com/about. Accessed 19 Nov. 2024. Subject The topic of the resource The state of Minnesota is located on 11 different Native American tribal lands. The piece is a reminder of all of those Native American communities that have been displaced. This painting uses a character of Danielle Seewalker’s with the use of her “we are our ancestor faces”. The “we are our ancestor faces” appears in several of her works like her piece We Are Because Our Ancestors Were a piece that she painted in Denver. She said in a post about her Denver piece “We are the seeds of our ancestors’ dreams. We carry forward not only their DNA, but the prayers they sent wishing for a better existence” (“Danielle SeeWalker (@Seewalker_art) • Instagram Photos and Videos”). For her Minnesota piece she framed the faces with native flowers as an homage to the Dakota people that originally inhabited the land. The customized flowers give the work a sense of connection to the land and the local community which is not always common with out of state paintings. An additional small detail in the artwork knowing about its Native American roots is that the hair of both the ancestors’ faces is long and braided meaning that they are not in a time of mourning where their hair would be cut. The two faces remind viewers of the people that inhabited the land before us and the dreams that they hope we fulfill today. It also gives insite on looking back at the people who came before us and invites the viewers to think about the generations that will follow after us. Ancestors Chromazone Cultural Identity Danielle Seewalker Feminism Flowers Native Artist Woman Artist https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/45f4ea931a5a2006edc78d6c6aa95364.png?Expires=1773878400&Signature=hyK3G5LyFpBt-QI7%7E-j%7Etb9UYPh5xSHAwF4fyc1GWnaG8a-5yKzmNqNAGOFyf277jONlWu9kF6KNIFgbFOWmaGnoTVOKR5hkbCB0VW1SoH5tWiMcP2hEfhnxTbj4i3oJM3Xdvalb1OsuOmskrTklL5oml23VgtG4X-Zia2qjBQImGrYxLR60zzFOsRSaz21Zt2lPadaeceqMq6J%7EKdp6hyLQ1SNbGkbDltFV2oZ3K6v4I%7E8i93Bi3NviZZp38LJ1kVp8zHMnW%7EeFFblmGqz2QfIRgR8MqiAxsQB3m8ljwXg7ZXA-%7EO49tr6QeplXIrmgQ8gPWzlYOXBSa-P6xlTo1w__&Key-Pair-Id=K6UGZS9ZTDSZM 1b5a729e1083e48ee716663f077f2c8f https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/a9f4708840bd39453ed12758482411bb.png?Expires=1773878400&Signature=uRFFCpCbbgA2oktB8oqGCgzV9Sx3eyumAnZh6M6iHmU2D5p4GFNiAI64K%7E%7E5kX%7E%7Ewyu8OYmtCBFQqX1slATvAAXll6hyo8DqNjfBS7V4r-Kvt5h5u-ApabnR-6a5McmVeFxU0mpH4HVQWqli4xDShW%7EzIiWOHFxWObPWfXNisOfdgQpOrNTwXrR9WBjfkrPqKm5sC5zkmwz110zu%7EiiXCbFM1t9zqox2GfAwCjugjhOpLyS93H9wZX2YILXRJPaAb8UPjwf1mkMweHWd6JuxFNuwqojHvH1tkA2gBrNFYq1D8FydOc7vWi3c94ejrkpWITEN-WhlC6einz6-9cT-Zw__&Key-Pair-Id=K6UGZS9ZTDSZM bcbe7d7f97fe1de416a27641ff99101f https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/44e0d6b1ee8cdcf4442cf86676b76a7a.png?Expires=1773878400&Signature=QB-5EgdlGGf1upqlrhZ3f5WFYxf3u06fWBju1IcHO15nRW6LDdfTTUDU8EyQOidIUSt3pJONFZ%7EEkgcIvKGo6jCURCrK7a-ubz2VmqlnxRF7g4Nh-INdyi6mNpMfar-9sFfd2jpyMUt0yf19y4Knjk7FvvI4lgW7VNz6UU9jDJiXmppd-qdQPQWn5HAthS79rQUvpKFy15q0wPCoe2AJCiNpUqx5q8gdbjRSXCrO8boFT7Xl0QDPRk%7ELz6PetsWLasP0696sn0%7ECACi0oViDfT7xanTsKfLTbuakRHN3amtvc1D2I8TVlVojHkpHx89wQV3r6UD8m7arjJd6q1i1bw__&Key-Pair-Id=K6UGZS9ZTDSZM 93e2806fc157d3a617627ac225a002e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chromazone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Ancestors & Land Back Creator An entity primarily responsible for making the resource Povi Marie (Leah Lewis) Povi Marie is a Pueblo/Diné woman who was raised in Tiwa territory, better recognized as Albuquerque, New Mexico. Her art aims to garner community support and recognition for Native American and Indigenous communities. Alongside her murals in the Chroma Zone, she worked alongside her partners, SABA and Votan to create a three-story mural in downtown Duluth. She is also beginning to work on a documentary, exploring a new form of art. Povi Marie has an unwavering commitment to her community and a dedication to preserving Indigenous heritage through art and education. Povi Marie wants her work to inspire the next generation to embrace their heritage and uniqueness with pride, creating a more inclusive and uplifting world for all. Date A point or period of time associated with an event in the lifecycle of the resource Date of Creation: October 2022 Date of Documentation: October 2024 Description An account of the resource “Little Ancestors” depicts two Indigenous female characters, one is wearing a hat, along with mushrooms, the sun, and a mountain, all smiling. They are in a nature scene with a river, trees, and the blue sky. It uses natural colors including blues, reds, and greens. They are bright in color, but remain something you would find in nature. The two human characters are placed in the foreground to emphasize their presence. The characters depict two native women. The texture is very smooth with only a little texture found on the trees. Otherwise, it would be smooth to the touch. The mural is drawn in a style known as kawaii. Kawaii is a Japanese artistic and cultural style that emphasizes the quality of cuteness using bright colors and characters with a childlike appearance. “Land Back” depicts fruit (strawberries, grapes, blueberries) and animals (a hummingbird and a frog) as its characters. They are all smiling. This mural uses bright pastel colors that are not natural including pink, blue, green, and purple. The title “Land Back” is drawn in bubble letters and centered on the wall which works to draw your attention immediately to the wording. The mural includes different colors of hearts, clouds, and sparkles in the background. This mural has little texture. Everything is very smooth besides the seeds drawn on the strawberries. Subject The topic of the resource Both of these murals work in connection to draw attention to ancestral representation in the Indigenous community, which artist Povi Marie belongs to. It also depicts the deep spiritual and cultural connections to Indigenous land as they see it as sacred and integral to their identities. These murals celebrate Indigenous identity and work to portray the idea that their culture is not lost or forgotten but is still here and continuously evolving. “Land Back” directly communicates and supports the land back movement that calls for the restoration of land to Indigenous communities. Both murals use natural elements (fruit, animals, trees, rivers) to symbolize the importance of nature which is central to Indigenous viewpoints. These murals work to draw awareness to Indigenous communities but also serve as a message of cultural empowerment for Indigenous groups. These murals can be viewed as a beacon of hope, strength, and collective action toward the restoration of Indigenous land and natural balance. The murals were also created to acknowledge missing and murdered Indigenous relatives in communities. Rights Information about rights held in and over the resource Artist: Povi Marie Researcher: Kylie Anderson Source A related resource from which the described resource is derived “Artist Bio: Leah ‘Povi’ Lewis.” NSRGNTS, https://nsrgnts.myshopify.com/pages/nsrgnts-artist-povi-marie. Accessed 19 Nov. 2024. Final Chroma Zone Mural Unveiled for 2022 – Park Bugle. https://www.parkbugle.org/final-chroma-zone-mural-unveiled-for-2022/. Accessed 19 Nov. 2024. “POEH AH KA WOHATSEY: THE EMERGENCE TEACHINGS OF RESILIENCE.” Indian Pueblo Cultural Center, 29 May 2024, https://indianpueblo.org/current_exhibitions/nsrgnts/. “Povi Marie — Chroma Zone Mural & Art Festival.” Chroma Zone Mural & Art Festival, https://www.chromazone.net/povi-marie. Accessed 19 Nov. 2024. Creative Enterprise Zone Indigenous Kawaii Landback Minnesota Muralist Native Art Native Artist Povi Marie Pueblo St.Paul Mural Street Art https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/f6da937bdd69c4d31071de37b61fee18.jpeg?Expires=1773878400&Signature=cBuhn4ODTz9w092blB69X2AaNxXFEMVzwO3YexD6Dra6f3SORy1B-Bbjh%7EdEvd6eRHZN2Ms2g-PiRKkc6nim%7EXTLjppfAtutNSSI1cNW8WEoPBEYWjzmsZg0tCQx61SrUArNwW5ml5uO%7EI83xg585I%7EjsY67mkL6PDaz1o%7E5662LEde9b%7EQkaCQRhxsx99kNea9JWPG5SWDh7xnApiENe3k-RbMqEaPxAkrth-fzpQNOoilCZ%7EqMBp2xZ1VLaVnMfQdMMIzKaFxdllfA6MSLiPs6EdKepC-YhqfjMLoW8sDyql-gorMAOfI1RAoAqeKY2ai2tNlZHStPBrRdrFihUA__&Key-Pair-Id=K6UGZS9ZTDSZM ef92dcd59c7bdfe952a8a47bf256151e https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/24d7af4741f619ea64ca9f09126dd84c.jpeg?Expires=1773878400&Signature=HmQky6hhch0jfeYjOHXTTTJDTySoG0BfmJdRi58DFOhMF3IsrTN2qJwUnXdrUeVImG9OFecj-9PPRXykfVJMd9Qr6XQll8OZlOf2BNBAQGpmkO52Ou0tbUAUTIgohF%7EehJZmCbewKIZBof6EpDZsRF37Q3YRuk6YhReCf0k1Um5cblJ5VzZ7%7EkK4KoftiuAxm1pFHAoOIZ5jawwh2MDggaLWwhg4ow5N6%7E3R12kg69H7hTyrHy%7EscE23jFtECCT6iWM6eDbvpA3VyB90cAc6w9Li%7ENMmp7YwcKX1sS7UxHUysBVK2htSJKub3dn4IFfwEa4LPKR2GeFSTnJmguevbQ__&Key-Pair-Id=K6UGZS9ZTDSZM 465ce1551ae2dc78f1f5cf3aa4f3833f https://d1y502jg6fpugt.cloudfront.net/88384/archive/files/38a92b900f5274d29816d1a410728e4c.jpeg?Expires=1773878400&Signature=EjFg3WzXoF5OSAuogq2Ma2jyCOE4qK5WFuYy3%7EEFBlddqFhDzBemCwPA8zChDBjreGpGNXvPxYPoKfiilwsS0BCHsRVpP29OjtOO0%7Et2E3WRXSeZcSKfwPjqEzETSYBI0UWNK5yxEAPmdzwdyWMS4-AHCaBMIa0FfqKCGcoZc6AfX7PbdmhRpAusAsjIRc2LQhpfb05t%7EfvdkjWj7pxm36J91MHkpH2z9bo6EmFAy5mG2eRaBHb9IA7qYeFeqp5onjQ8KVPLz4szBmzp48VIttMaLibBcGB5DscOiCZhrtSlmU%7EtXnYKbaq7zEBY%7E93s9-hnBpTUcVXkXayYCCNYAQ__&Key-Pair-Id=K6UGZS9ZTDSZM 8e8c615f24b7f4447696bed827407afc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chromazone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unci Maka Creator An entity primarily responsible for making the resource Thomasina Top Bear Thomasina Top Bear is a self-taught mural artist from the Santee Dakota and Oglala Lakota nations. Since 2015, she has been part of Few & Far Women, which is an international crew of artists. She also helped to co-found City Mischief Murals, a group of BIPOC artists based in the Twin Cities. Thomasina’s art is inspired by her Indigenous heritage and graffiti background. Through her work, she expresses ideas about community, social justice, culture, feminism, and unity. Date A point or period of time associated with an event in the lifecycle of the resource Date of Creation: 08/2021 Date of Documentation: 10/26/2024 Description An account of the resource Composition: The mural features a balanced and symmetrical composition extending across a large exterior wall. Key focal points include the quilt star-like motif and the text “UNCI MAKA,” positioned centrally within the mural. The arrangement of the sunflowers, flowers, and flying creatures creates harmony and directs the viewer's eye along the length of the mural. Color: The color palette of the mural consists of light blue as the background, contrasting with yellow for the sunflowers, red and orange for the quilt star motif, and purple-pink for the cone flowers. The use of color highlights key elements and directs the viewer’s attention toward the text and central quilt star motif. Line: The mural includes a variety of line types, from thick outlines that define the primary shapes (such as the flowers, star, and insects) to the curves in the petals and bees’ wings. Curved lines dominate, giving the mural a sense of movement and flow. The straight lines in the text contrast with the rounded, organic forms, providing balance and structure. This contrast between straight and curved lines emphasizes the text, separating it from the surrounding elements. Texture: The mural is painted on a rough wall, but the painted forms use smooth, solid color fills with consistent line work. The contrast between the wall’s physical texture and the visual appearance of the paint creates a dynamic effect. The physical texture of the wall connects the mural to its setting, interacting with natural light and changing its appearance based on the time of day. Space: The mural uses a clear spatial arrangement, with flowers, text, and the star in the middle ground. Foreground elements include the larger flowers, like the sunflowers and cone flowers. The background is composed mainly of the blue sky and white clouds, establishing a sense of depth. The perspective remains flat, with elements on a single plane, maintaining focus on each object. Overlapping elements, such as the flowers, bees, and butterflies, create a layered visual experience. Rights Information about rights held in and over the resource Artist: Thomasina Top Bear Researcher: Aubrey Mathiowetz Subject The topic of the resource Unci Maka, translates to "Grandmother Earth" in Lakota/Dakota, and can serve as a reflection of Lakota/Dakota cultural heritage and has a significant spiritual meaning. There is a Morning Star, which is shown in the mural as a star shaped quilt pattern and symbolizes a connection between the Lakota/Dakota world and their ancestors. The Sunflowers and other pink flowers are plants that are native to Minnesota that have been known to have traditional healing uses in Lakota/Dakota culture. The Sunflower is especially important to the Lakota people because it was a symbol of prayer and endurance. The Hummingbird, Monarch butterflies, and Bumblebees in the mural show how important pollinators are for life on Earth. They help spread seeds and pollinate plants to keep ecosystems alive. The Hummingbird, called Thanagila in Lakota, is seen as the bird of the Sun and a lover of plants. Thomasina Top Bear chose to use the Lakota/Dakota term Unci Maka instead of "Mother Earth" is a way to reclaim culture and language. Unci Maka shows the importance of representing Indigenous traditions, especially after years of forced assimilation and attempts to erase their culture. The mural reminds us that Lakota and Dakota people are still here and reclaiming their space. Source A related resource from which the described resource is derived Topbear, Thomasina. “Thomasina Topbear.” Chroma Zone, Chroma Zone Mural & Art Festival, https://www.chromazone.net/thomasina-topbear. Accessed 20 Nov. 2024. “Lakota Fire Coneflower (Echinacea 'Lakota Fire').” North Shore Plant Club, https://www.northshoreplantclub.com/plant?ID=18723. Accessed 20 Nov. 2024. “The Sunflower Medallion.” Lakota Times, https://www.lakotatimes.com/articles/the-sunflower-medallion/#:~ =The%20Lakota%20people%20respected%20the,the%20four%20days%20of%20sundance. Accessed 20 Nov. 2024. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chromazone Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Waasamo-inini (holds the lightning) in Anishinaabemowin (Ojibwe) Creator An entity primarily responsible for making the resource Miskitoos Henning Garcia Holly Henning, also known as Miskitoos, is an active visual artist and muralist. She is a Marten Falls Anishinaabe First Nation, Constance Lake Oji-Cree First Nation. She is a lead organizer for a BIPOC artist collective in the Twin Cities called City Mischief Murals. She uses art as a way for voices in the community to be heard, promote healing, and create change. She has been part of several community art events and projects throughout the United States, Canada, Africa, and Mexico. She uses art to address and explore contemporary indigenous struggle. Date A point or period of time associated with an event in the lifecycle of the resource Date of Creation: August 2021 Date of Documentation: October 28, 2024 Description An account of the resource The composition of the mural is arranged to draw the viewer's eye toward the central element—the hand holding a lightning bolt. Positioned in the middle of the mural, this hand acts as the focal point, with every other element— the bear on the far left and the bird on the right—facing towards it. This arrangement creates a balance across the mural, with the elements on either side of the hand mirroring each other in positioning and adding asymmetrical balance. The radiating lines that start from the central hand further emphasize the focal point, guiding the viewer's gaze outward and creating a sense of energy coming from the lightning bolt. The main colors used in the mural are different shades of blue for the background, yellow for the lightning bolts, and there are also other colors such as red, orange, black, white, and green used in the mural. There is contrast between the yellow used in the bolts, and blue in the background lines. This contrast draws attention to the central element of the mural and the bright yellow catches the eye of people who would walk by. These colors create a feeling of intensity and bring energy to the art. The lines that extend outward from the center of the mural are mostly straight and bolded. Some are thicker than the others, but this creates a sense of movement within the piece and gives off a sense of power and strength. The radiating lines from the center of the mural draw the viewer’s eye towards the hand and ensures that all parts of the mural are connected. The contrast between straight and curved lines in the mural helps differentiate between the powerful central figure of the hand clenching a lightning bolt to the natural elements around it such as the bear and bear prints, the hearts, and the bird. The texture of the mural has a natural roughness as the bricks on the wall contrasts with the application of paint, creating a sense of texture. The unevenness of the brick surface interacts with the sharp lines of the lightning bolts, making the bolts appear even more dynamic and sharper. When looking at the space with the mural, the central hand and the lightning bolt seem to be part of the foreground due to its size and central placement. The bear on the left and the bird on the right occupy the middle ground, and the smaller lightning bolts and bear paws are in the background. The artist creates depth by creating lines that start from the central hand and they start small and grow larger as they move outward. The composition is layered, with the hand in the foreground and the bear and bird in the middle ground, while the background features smaller objects such as smaller lightning bolts that create a sense of distance. Subject The topic of the resource Miskitoos Garcia’s mural, “Waasamo-inini (holds the lightning),” expresses her cultural identity and serves as a visual interpretation of her family. She includes traditional and symbolic Anishinaabe elements within the mural. At the heart of her mural is her family. She celebrates her son, partner, and her own cultural identity. The theme of family is most important to her work. The title "Waasamo-inini (holds the lightning)" represents her son’s Anishinaabe name. He is the one who is holding the lightning bolt that is in the center of the mural. I think it is important how this is the main central focus of the mural as the lines are radiating away from the center of the wall where his fist is. His fist is an important symbol of strength and power. Miskitoos Garcia wants to “address, explore and portray contemporary indigenous struggle.” The act of clenching the lightning bolt communicates power and strength, which reflects the strength of indigenous communities. This image highlights the message that there is the ability to rise and endure when faced with struggle and adversity. The bear on the left side of the mural represents her clan, Mukwa nindoodem (bear clan). This is a reflection of her identity and what clan she is a part of. The bear claw prints across the mural are important because they represent her son's clan. The bird on the far right side of the mural represents her partner’s clan, Binesi nindoodem (bird clan). All of these different elements in the mural come together to connect her relationships and to create her cultural identity. Overall, this mural is dedicated to her family, but it also brings awareness to her identity and the community that she is part of. The elements that are shown throughout the mural are important symbols that represent her community and the different clans. Rights Information about rights held in and over the resource Artist: Miskitoos Henning Garcia Researcher: Lexi Huber Source A related resource from which the described resource is derived “Miskitoos Henning Garcia.” Chroma Zone Mural & Art Festival, www.chromazone.net/miskitoos-henning-garcia. Accessed 19 Nov. 2024. “Indigenous Roots | Art In This Present Moment.” YouTube, YouTube, 10 Nov. 2020, www.youtube.com/watch?v=6HDcGRMrAEw. “Intertribal Cultural Corridor.” Indigenous Roots, indigenous-roots.org/intertribal-cultural-corridor. Accessed 19 Nov. 2024. Chromazone Indigenous art Miskitoos Garcia Native Artist Woman Artist